“I learned that Cézanne's success was not preventing the Neo-Impressionists from getting support. My knowledge of their technique was entirely literary.”

— Jean Metzinger

Cubism was born

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Jean Metzinger 33

French painter 1883–1956

Titon Rahmawan

“When I think about my career, my successes are built on learning from failures.”

Satya Nadella (1967) CEO of Microsoft appointed on 4 February 2014

Boy Genius Report: "When I think about my career, my successes are built on learning from failures: Microsoft CEO Satya Nadella" https://www.bgr.in/news/when-i-think-about-my-career-my-successes-are-built-on-learning-from-failures-microsoft-ceo-satya-nadella/ (29 December 2015)

“Women need to become literary "criminals", break the literary laws and reinvent their own, because the established laws prevent women from presenting the reality of their lives.”

Kathy Acker (1947–1997) American novelist, playwright, essayist, and poet

Bodies of Work (1996)

“I spent my entire career in business, and was fortunate to experience success. Essential to my success, however, was the fact that I was engaged in the larger world around me as a curious person who wanted to learn. I did not rely only on business perspectives. In fact, it was a drive to understand and enjoy life -- and be connected to something larger than myself in my love of reading, learning, and in my case, studying and learning about Judaism -- that allows me, at 84, to see my life as fully rounded.”

Edgar Bronfman, Sr. (1929–2013) Canadian-American businessman

http://www.insidehighered.com/views/2013/10/17/liberal-arts-are-best-preparation-even-business-career-essay

“I can not get over everything you did for me in that first day [for his support to hang her works on the 7th Impressionist exhibition, Spring 1882], it seems to me that you are working yourself to death, and all on my account. This touches me deeply and vexes me at the same time.”

Berthe Morisot (1841–1895) painter from France

Berthe Morisot, in a letter to her husband Eugene Manet, 1882; as cited in Impressionist quartet, ed. Jeffrey Meyers; publishers, Harcourt, 2005, p. 120
1881 - 1895

“I have always considered the price of perfection prohibitive and allowed mistakes as a part of the learning process. I prefer a dash of daring and persistence to perfection. I have always supported learning on the part of my team members by paying vigilant attention to each of their attempts, be they successful or unsuccessful.”

A. P. J. Abdul Kalam book Wings of Fire

Source: Wings of Fire, p. 58.

“Roethlisberger argues that people who are preoccupied with success ask the wrong question. They ask, “what is the secret of success” when they should be asking, “what prevents me from learning here and now?” To be overly preoccupied with the future is to be inattentive toward the present where learning and growth take place. To walk around asking, “am I a success or a failure” is a silly question in the sense that the closest you can come to answer is to say, everyone is both a success and a failure.”

Karl E. Weick (1936) Organisational psychologist

Weick, Karl E. "How Projects Lose Meaning: The Dynamics of Renewal." in Renewing Research Practice by R. Stablein and P. Frost (Eds.). Stanford, CA: Stanford. 2004; cited in: Bob Sutton " Karl Weick On Why "Am I a Success or a Failure?" Is The Wrong Question http://bobsutton.typepad.com/my_weblog/2008/04/karl-weick-on-w.html," at bobsutton.typepad.com, April 12, 2008.
2000s

“For the late twentieth-century museum director there is no more certain prospect for audience acclaim and sponsor success than those Impressionist and Post-impressionist artists who were so reviled a century earlier”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

“The work of Renoir, after that of Cézanne whose great influence had been manifested among artists, save us from whatever drying effect there is in pure abstraction. The rules that one might deduce in considering the work of these two masters appear to be more difficult to discover in the work of Renoir, who hides his efforts better. Whereas the continuous tension of the mind of Cézanne, his lack of self-confidence, prevent him from giving himself to us entirely even though he shows the evidence of his corrections, from which are easily (too easily) deduced rules that have a mathematical precision.”

Henri Matisse (1869–1954) French artist

critical quote on Cubism
In a short text of Matisse, 1918, written for the catalogue of 'Den Franske Utstilling', 1918, Copenhagen; as quoted in Matisse on Art, Jack Flam, University of California Press 1995 p. 272, note 2
1910 - 1920

“I was interested in achieving a creative freedom, a style that I could express with Seurat's.... color technique [color-divisionism], but shaped to my own needs. Proof that I found it is in my paintings of that period, among which is the famous 'Pan-Pan a Monico' [Severini painted in 1912]. My preference for Neo-Impressionism dates from those works. At times I tried to suppress it, but it always worked its way back to the surface.”

Gino Severini (1883–1966) Italian painter

Source: The Life of a Painter - autobiography', 1946, p. 53; as quoted in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003.

“I learned that Cézanne's success was not preventing the Neo-Impressionists from getting support. My knowledge of their technique was entirely literary.”

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Jean Metzinger 33

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