“a written note of Nolde, 1903, on the island of Alsen; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 77”

— Emil Nolde

1900 - 1920

Adopted from Wikiquote. Last update June 3, 2021. History

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Emil Nolde 28

German artist 1867–1956

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“a later confession to his friend, in Expressionism; Praeger Publishers, New York, 1973, p. 76”

Emil Nolde (1867–1956) German artist

undated quotes

“title of Goya's undated 80 etchings, 1808 - 1814; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 272”

Francisco De Goya (1746–1828) Spanish painter and printmaker (1746–1828)

'Fatales consequensias de la sangrienta guerra en Espanã con Buonaparte. Y otros caprichos enfáticos'
the official title of Goya's series of 80 undated etchings he started to make in 1808 on the Peninsular War between France and Spain (1808-1814); most war activities and cruelties took place in Spain. None of these etchings were printed in Goya's lifetime.
1800s

“Except as otherwise noted, following quotes are from Managing, Geneen and Moscow, Granada Publishing Ltd.”

Harold Geneen (1910–1997) American businessman

1985

“History of the New York Times, 1851-1921. Contributors: Elmer Davis - author. Publisher: New York Times.”

Elmer Davis (1890–1958) American politician

History of the New York Times (1921)

“Quote from Rembrandt's 5th letter to Constantijn Huygens (Amsterdam, 27 January 1639), as cited in The Rembrandt Documents, Walter Strauss & Marjon van der Meulen - Abaris Books, New York 1979, p. 167.”

Rembrandt van Rijn (1606–1669) Dutch 17th century painter and etcher

What Rembrandt is referring to is a little painting he sent Huygens as a gift together with his letter. This quote clarifies Rembrandt's option about the light and distance, necessary for showing his painting and its colors in the right way.
1630 - 1640

“Quote of Breton, written in the prologue of The Diary of a Genius, Salvador Dali, London Pan Books, 1976, 1980 p. 35”

André Breton (1896–1966) French writer

after 1930

“in a letter to Constantijn Huygens (Amsterdam, February 1636) on a Passion Cycle of 3 paintings, commissioned already in 1635 by the imperial court, as quoted in The Rembrandt Documents, Walter Strauss & Marjon van der Meulen - Abaris Books, New York 1979, p. 129”

Rembrandt van Rijn (1606–1669) Dutch 17th century painter and etcher

What Rembrandt is referring to in his phrase "I cannot refrain from presenting you, [dear] Sir, my latest work." is very probably one or more recent etchings, Rembrandt made.
1630 - 1640

“Mr. Jacob A. Riis, a few years ago, used some figures which showed that about one-third of the people of New York City were dependent upon charity at some time during the eight years previous to 1890. The report of the United Hebrew Charities for 1901 shows very similar conditions existing among the Jewish population of New York. But even more astonishing than all other facts we have are those furnished by the State Board of Charities... The poverty of New York State is enormous. In actual figures as reduced, the persons in distress in 1897 number… about 19 per cent of the people of New York and in 1899 they number… about 18 per cent. …If the figures are correct as published the persons in New York State in distress in 1897 and in Boston in 1903 would equal proportionately the number of those in poverty in London.”

Robert Hunter (author) (1874–1942) American sociologist, author, golf course architect

Source: Poverty (1912), p. 22

“Quote in Rembrandt's letter to Constantijn Huygens (Amsterdam, 12 January 1639) on 3 paintings commissioned (in 1635 and started by Rembrandt already in 1635/36) by the imperial court, as cited in Painters on Painting (1963) by Eric Protter, p. 78 / Dutch original text in The Rembrandt Documents, Walter Strauss & Marjon van der Meulen - Abaris Books, New York 1979, p. 161.”

Rembrandt van Rijn (1606–1669) Dutch 17th century painter and etcher

version in original Dutch (origineel citaat van Rembrandt, in Nederlands): Door die grooten lust ende geneegenheijt die ick gepleecght hebbe int wel wtvoeren van die twe/ stuckens die sijn Hoocheijt mijn heeft doen maeken weesende het een daer dat doode lichaem Chrisstij/ in den graeve gelecht werd ende dat ander/ daer Chrisstus van den doode opstaet dat met/ grooten verschrickinge des wachters. Dees selvij/ twe stuckens sijn door stuijdiose vlijt nu meede/ afgedaen soodat ick nu oock geneegen ben om die/ selvijge te leeveren om sijn Hoocheijt daer meede/ te vermaeken want deesen twe sijnt daer die meeste/ ende die naetuereelste beweechgelickheijt . in/ geopserveert is dat oock de grooste oorsaeck is dat/ die selvijge soo lang onder handen sij geweest.
in margin: deessen 12 Januwarij 1639, Mijn heer ik woon op die binnenemster, thuijs is genaemt die suijckerbackerrij [in Amsterdam]. http://remdoc.huygens.knaw.nl/#/document/remdoc/e4458
What Rembrandt meant in his phrase "die meeste ende di naetuereelste beweechgelickheijt" has been the subject of dispute. Variant translations have been proposed:
For in these two paintings "the greatest and most innate emotion has been expressed", which is also the main reason why they have taken so long to execute (c. 3 years!).
The "deepest and most lifelike emotion has been expressed", and that's the reason they have taken so long to execute.
1630 - 1640

“Before 1940 there was relatively little abstract art in America. Most of it was relatively geometric versions of Cubism, or of Mondrian and De Stijl, or of Arp reliefs, and the like. So that when our painting [of the artists of the New York School: Abstract Expressionism first appeared, the critics at once realized that to describe it as 'abstract' would be misleading... In America, the word (I suppose taken from Germany) for something highly emotional is 'expressionist', and some critic, either in the New Yorker or the New York Times then called it Abstract Expressionism, meaning that this was a very emotional art, but an abstract one.”

Robert Motherwell (1915–1991) American artist

first published in 'Metro', 1962; as cited in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 80
1960s, Interview with David Sylvester', (1960)

“a written note of Nolde, 1903, on the island of Alsen; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 77”

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Emil Nolde 28

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