“I think that it will be a great success, that all this painting [of Edouard Manet, shortly after his death], so fresh, so vital, will electrify the 'Palais des Beaux Arts' [in Paris], which is accustomed to dead art. It will be the revenge for so many rebuffs, but a revenge that the poor boy only in his grave.”

— Berthe Morisot

in a letter to her sister Edma Morisot, c. Jan 1884; as cited in: Impressionist quartet, ed. Jeffrey Meyers; publishers, Harcourt, 2005, p. 124
1881 - 1895

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Berthe Morisot36

painter from France 1841–1895

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“His [ Edouard Manet's] paintings, as they always do, produce the impression of a wild or even a somewhat unripe fruit. I do not in the least dislike them.”

Berthe Morisot (1841–1895) painter from France

Quote of Berthe 1864-65 in a letter to her sister Edma Morisot; as cited in Berthe Morisot, the first lady of Impressionism, Margaret Sehnan; Sutton Publishing (ISBN 0 7509 2339 3) 1996, p. 50
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“.. that distinguished aesthete [ Gustave Moreau, ] famous artist and art teacher in Paris, then] who paints nothing than rubbish, it is because his dreams are suggested not by the inspiration of Nature, but by what he has seen in the museums... I should like to have that good man under my wing, to point out to him the doctrine of a development of art by contact with Nature. It's so sane, so comforting, the only just conception of art.”

Paul Cézanne (1839–1906) French painter

Quote in a conversation with Vollard, in the studio of Cézanne, in Aix, 1896; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 66
Quotes of Paul Cezanne, 1880s - 1890s

“Interpretation is the revenge of the intellect upon art.”

Susan Sontag (1933–2004) American writer and filmmaker, professor, and activist

Source: Against Interpretation and Other Essays (1966), p. 7

“I only suggest to you: Will you dwell on killing this man? You wish for revenge? If you do, he has already killed you by slow poison. So, let it go. Why waste your time? His life will see to his death.”

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“A great artist is born from a profound knowledge of the tradition and problems of painting. However, there are many works in which freshness and audacity surprise, as can be seen in popular art and in certain examples of modern art.”

Fernando Botero (1932–2023) Colombian artist

On the influence of culture on an artist in “Interview With Fernando Botero” https://www.huffpost.com/entry/interview-with-fernando-botero_b_6795782 in HuffPost (2017 Dec 6)

“If you read some of the Parisian newspapers, among others the 'Figaro', so beloved of the right-thinking public, you must have learned that I am part of a group of artists who opened a private exhibition [in the art-gallery of Durand-Ruel in Paris, April 1876]. You must also have seen what favour this exhibition enjoys in the eyes of these gentlemen [Berthe refers to the critical articles in Paris with all their mockery about her works]. On the other hand, we have been praised in the radical newspaper, but you don't read those [her aunts]! Well, at least we are getting attention, and we have enough self-esteem not to care. My brother-in-law Edouard Manet is not with us [Manet didn't participate in this first Impressionist show, initiated by Degas ]. Speaking of success, he [Manet] has just been rejected by the Salon; he, too, is perfectly good-humored about his failure.”

Berthe Morisot (1841–1895) painter from France

In a letter to her aunts, 1876; as quoted in The Private Lives of the Impressionists, Sue Roe; Harper Collins Publishers, New York, 2006, p. 155
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“There is no revenge so complete as forgiveness.”

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Source: Josh Billings: His Works, Complete (1873), p. 235 https://books.google.com/books?id=HJUIXmDzqPcC&pg=PA235

“I say it speeds thee not
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So long as thou art still
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Angelus Silesius (1624–1677) German writer

The Cherubinic Wanderer

“I do not believe that art must develop on national lines, but I am convinced that there never was and never will be an international art. There is and was French, German, Italian, and Flemish art. But I deny those specific definitions so fashionable with adepts of fascism which make of every country an hermetic cell from which all foreign artists are excluded. [shortly after the end of the German occupation]”

Ossip Zadkine (1890–1967) French sculptor

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“[learning European modern art by seeing it in the art-magazine 'w:Cahiers d'art']…. my heritage was all those things; [De Stijl, Constructivism, Cubism, Surrealism ] simultaneously, so I am all those things. I hope with a very strong intellectual regard for Cubism, and an admiration for it, because it was great at a particular time. It was both painting and sculpture. It was a great point of liberation in both painting and sculpture, and especially sculpture. [David Smith was one of the few sculptors in the art scene of American Abstract Expressionism ]”

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In an interview with w:David Sylvester (1960), edited for BBC broadcasting: first published in 'Living Arts', April 1964; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 8
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