“I wanted to tell you that in about 1883 there occurred a kind of break in my work. I had got to the end of 'Impressionism', and I had come to the conclusion that I didn't either how to paint or how to draw. In short, I had come to a dead end.”

—  Pierre-Auguste Renoir

Source: undated quotes, Renoir – his life and work, 1975, p. 175 : Renoir's remark to Vollard.

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Pierre-Auguste Renoir photo
Pierre-Auguste Renoir 44
French painter and sculptor 1841–1919

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“About 1883 a kind of break occurred in my work. I had wrung Impressionism dry, and had come to the conclusion that I knew neither how to paint nor how to draw. In a word, I was at an impasse”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Benicka (1980) commented:
The frescoes of Raphael and the Pompeian murals that he saw there definitely confirmed what Renoir had begun to feel about his own art; that it was becoming too amorphous in character and was weak in design.
undated quotes
Source: ‎'‎'Renoir‎'‎', by A. Vollard, Paris, 1920, p. 135; as quoted in: Corinne Benicka (1980) Great modern masters. p. 130;

Thom Yorke photo

“How come I end up where I started?
How come I end up where I went wrong?”

Thom Yorke (1968) English musician, philanthropist and singer-songwriter

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Richard Nixon photo

“I want to tell you that I was so damn mad when that Supreme Court had to come down. First, I didn't like the decision. Unbelievable, wasn't it? You know, those clowns we got on there, I tell you, I hope I outlive the bastards.”

Richard Nixon (1913–1994) 37th President of the United States of America

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Faith Ringgold photo

“I was encouraged to look around me and to paint what I saw. I painted my story, and it had a lot of angles to it. I was trying to explain how I saw life as a black person living in America, and I put things together that were not acceptable. A lot of people did not want these kind of paintings representing America in any sense, but I wanted to tell my story and what I saw…”

Faith Ringgold (1930) American artist

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Frank Stella photo

“Yes, the aluminum paint... What happened, at least for me, is that when I first started painting I would see Pollock, de Kooning, and the one thing they all had that I didn't have was an art school background. They were brought up on drawing and they all ended up painting or drawing with the brush. They got away from the smaller brushes and, in an attempt to free themselves, they got involved in commercial paint and house-painting brushes, Still it was basically drawing with paint, which has the characterized almost all twentieth century painting. The way my own painting was going, drawing was less and less necessary. It was the one thing I wasn't going to do. I wasn't going to draw with the brush.”

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Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 120

Chris Cornell photo

“I really had to come to the conclusion, the sort of humbling conclusion that, guess what, I'm no different than anybody else, I've got to sort of ask for help not something I ever did, ever. And then part two of that is, like, accept it when it comes and, you know, believe what people tell me. And trusting in what I have been told, and then seeing that work.”

Chris Cornell (1964–2017) American singer-songwriter, musician

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Alvin C. York photo

“All the time I kept yelling at them to come down. I didn't want to kill any more than I had to. But it was they or I. And I was giving them the best I had.”

Alvin C. York (1887–1964) United States Army Medal of Honor recipient

Account of 8 October 1918.
Diary of Alvin York
Context: There were over thirty of them in continuous action, and all I could do was touch the Germans off just as fast as I could. I was sharpshooting. I don't think I missed a shot. It was no time to miss.
In order to sight me or to swing their machine guns on me, the Germans had to show their heads above the trench, and every time I saw a head I just touched it off. All the time I kept yelling at them to come down. I didn't want to kill any more than I had to. But it was they or I. And I was giving them the best I had.
Suddenly a German officer and five men jumped out of the trench and charged me with fixed bayonets. I changed to the old automatic and just touched them off too. I touched off the sixth man first, then the fifth, then the fourth, then the third and so on. I wanted them to keep coming.
I didn't want the rear ones to see me touching off the front ones. I was afraid they would drop down and pump a volley into me. — and I got hold of the German major, and he told me if I wouldn't kill any more of them he would make them quit firing. So I told him all right, if he would do it now. So he blew a little whistle, and they quit shooting and come down and gave up.

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Vincent Van Gogh photo

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In his letter to Theo, from Cuesmes, 24 September 1880 - original manuscript of letter no. 158 - at Van Gogh Museum, location Amsterdam - inv. no. b156 V/1962, http://vangoghletters.org/vg/letters/let158/letter.html
Van Gogh's copies (drawings) he made after the work of Rousseau have been lost
1880s, 1880
Context: First and foremost, the masterly etching, 'The bush', by Daubigny/Ruisdael. [ Daubigny's etching 'The bush', he made after Jacob van Ruisdael ].... I plan to do two drawings, either in sepia or something else, one of them after this etching [by Daubigny] — the other [etching, made] after T. Rousseau's 'The oven in Les Landes'. This latter sepia is already done — it's true — but if you compare it with Daubigny's etching, you'll understand that it becomes weak, even though the sepia drawing considered on its own may very well have a certain tone and sentiment. I have to go back to it and work on it again.... I couldn't tell you how happy I feel to have taken up drawing again. It had already been on my mind for a long time, but I always saw the thing as impossible and beyond my reach.

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