“I think I'm getting into the real mood and atmosphere of Worpswede now. What I used to call my Sunken Bell mood, the spell I was under when I first got here, was sweet, very sweet – but it was really only a dream, and one that couldn't last long in any sort of active life. Then came the reaction to it, and after that something truer – serious work and serious living for my art, a battle I must fight with all my strength. I am filled with the sun, every part of me, and with the breezy air, intoxicated with the moonlight on the bright snow... Nature was speaking with me and I listened to her, happy and vibrant. Life.”

— Paula Modersohn-Becker

excerpt of her Journal, Worpswede 1897; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, pp. 193-194
1897

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Paula Modersohn-Becker 55

German artist 1876–1907

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“I am glad I have that artistic life in me... [I'm] a nobody in my field of art... I don't overestimate myself at all, and that's why I can't get that comfort from my work [landscape painting], which the Great [artists] have in their field of art. What else to say! 50 years after my death!! I laughed about it. Do you think they will remember me after only one year? [after her death] Dear heaven! No, that is really my least concern.”

Marie Bilders-van Bosse (1837–1900) painter from the Netherlands

translation from the original Dutch: Fons Heijnsbroek
version in original Dutch (citaat uit een brief van Marie Bilders-van Bosse, in het Nederlands:) Ik ben blij dat ik dat artistieke leven in mij heb.. ..[ik ben] een prul op mijn gebied.. ..Ik overschat mijzelven niemendal, en daarom kan ik uit mijn werk [landschap-schilderen] niet dien troost putten die de Grooten op een gebied daaruit halen. En verder! 50 jaar na mijn dood!! Ik heb er om gelachen. Denk je dat ze één jaar daarna nog aan mij zullen denken? Lieve hemel! Nee, dat is mijn minste zorg.
Quote from Marie Bilders-van Bosse in her letter from The Hague, 29 March 1896, to her friend Cornelia M. Beaujon-van Foreest; as cited in Marie Bilders-van Bosse 1837-1900 – Een Leven voor Kunst en Vriendschap, Ingelies Vermeulen & Ton Pelkmans; Kontrast ( ISBN 978-90-78215-54-7), 2008, p. 29
Marie wrote her letter shortly after a quarrel with her friend Cornelia

“Worpswede, Worpswede, Worpswede! [small rural village in North-Germany were a colony of German artists was working then, including Paula] My sunken Bell mood! Birches, birches, pine trees and old willows. Beautiful brown moors – exquisite brown! The canals with their black reflections, black as asphalt..”

Paula Modersohn-Becker (1876–1907) German artist

Quote from her Journal, Worpswede 1897; as cited in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 192
1897

“I have always worked on the assumption that if something is valid and meaningful to me, it will also be valid and meaningful to many others. Not to everyone of course. On the basis of this assumption I do not think of an audience when I work, but only of my own reactions. By the same token I do not worry whether what I am doing is art or not. If what I paint is expressive, if it seems to communicate the feeling that is important to me, then I am not concerned if my work does not have marked earmarks of art. My work has been called abstract, surrealistic, totemistic and primitive.... I chose my own label and called my paintings 'Pictographs'..”

Adolph Gottlieb (1903–1974) American artist

Arts and Architecture, vol. 68, no 9, September 1951, p. 21.
1950s

“I've made use of the beautiful weather to sketch and paint outside. I had been staying away from color for such a long time that it had become something quite foreign to me. Working in color was always a great joy to me. And now it is a great joy again. Still, I have to battle with it, wrestle with it, with all my strength. And one must be victorious. But if it weren't for the fight, all the beauty of it wouldn't exist at all, would it? I'm writing this mostly for Mother who, I believe, thinks my whole life is one constant act of egoistic ecstasy. But devotion to art also involves something unselfish.”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her parents, from Worpswede, 10 September 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 199
1899

“I am grateful for what I am & have. My thanksgiving is perpetual. It is surprising how contented one can be with nothing definite — only a sense of existence. Well, anything for variety. I am ready to try this for the next 1000 years, & exhaust it. How sweet to think of! My extremities well charred, and my intellectual part too, so that there is no danger of worm or rot for a long while. My breath is sweet to me. O how I laugh when I think of my vague indefinite riches. No run on my bank can drain it — for my wealth is not possession but enjoyment.”

Henry David Thoreau (1817–1862) 1817-1862 American poet, essayist, naturalist, and abolitionist

Letter to Harrison Gray Otis Blake (6&7 December 1856), as published in The Correspondence of Henry David Thoreau (1958), p. 444; a line within this has been most quoted since 1865 in the form "I am ready to try this for the next ten thousand years, and exhaust it."

“I have two small altars where I burn incense when I have time and I'm in the mood, but I'm not really a pious practitioner. Modern living being what it is, I am not much into practice, but my thought, on the other hand, goes on uninterrupted.”

Christopher Gérard (1962)

Pagan Power in Modern Europe (1999)

“O dream on your black wings
you come when I am sleeping.

Sweet is the god but still I am
in agony and far from my strength.

for I had hope (none now) to share
something of the blessed gods,

nor was I so foolish
as to scorn pleasant toys.

Now may I have
all these things.”

Sappho (-630–-570 BC) ancient Greek lyric poet

Fragment 63 Voigt
The Willis Barnstone translations, Dream

“I could call my wandering thoughts together. I had hardly any patience with the serious work of life which, now that it stood between me and my desire, seemed to me child's play, ugly monotonous child's play.”

James Joyce book Dubliners

Source: Dubliners

“I came through the fire, and I am so blessed to be with you today. My dream is that one day, all people will live without fear, in real peace, with no fighting and no hostility.”

Phan Thi Kim Phuc (1963) Child depicted in the Pulitzer Prize-winning photograph taken during the Vietnam War on June 8, 1972

"In Napa, “napalm girl” Kim Phuc shares story of suffering and forgiveness in Vietnam and beyond" in Napa Valley Register https://napavalleyregister.com/news/local/in-napa-napalm-girl-kim-phuc-shares-story-of-suffering-and-forgiveness-in-vietnam-and/article_4f9225b8-0938-5509-b69b-abe13479fd4d.html (24 February 2019)

“Night and day I've been most intensely thinking about my painting, and I have been more or less satisfied with everything I've done. I'm slacking a little now, not working as much, and no longer so satisfied. But all in all, I still have a loftier and happier perspective on my art than I did in Worpswede. But it does demand a very, very great deal of me – working and sleeping in the same room with my paintings is a delight... When I wake up in the middle of the night, I jump out of bed and look at my work. And in the morning it's the first thing I see..”

Paula Modersohn-Becker (1876–1907) German artist

In a letter from Paris, 15 May 1906 to Otto Modersohn in Worpswede; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 204
1906 + 1907

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Paula Modersohn-Becker 55

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