
12 October 1859 (p. 388)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)
Quote of De Vlaminck; as cited in Les Fauves, The Museum of Modern Art; Simon & Schuster, New York, 1952; quoted in 'Becoming an Artist' on Widewalls https://www.widewalls.ch/artist/maurice-de-vlaminck/
Quotes undated
12 October 1859 (p. 388)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)
Propylaea (1798) Introduction
quoted by his brother-in-law Claude Terrasse, in 'Introduction' of Pierre Bonnard, John Rewald; MoMA - distribution Simon & Schuster, New York, 1918
Quote from Werefkin's lecture in 1914; as quoted in M. K. ČIURLIONIS AND MARIANNE VON WEREFKIN: THEIR PATHS AND WATERSHEDS, by Laima Lauckaité; Institute of Culture, Philosophy and Art, Vilnius
Werefkin gave her lecture during a regular Art Society meeting, 22 March 1914
after 1911
Warnock, Adrian, Interview with Mark Driscoll http://adrianwarnock.com/2006/04/interview-with-mark-driscoll_02.htm, Adrian's Blog, April 2, 2006.
The Soul of Man Under Socialism (1891)
Context: Art is the most intense mode of individualism that the world has known. I am inclined to say that it is the only real mode of individualism that the world has known. Crime, which, under certain conditions, may seem to have created individualism, must take cognisance of other people and interfere with them. It belongs to the sphere of action. But alone, without any reference to his neighbours, without any interference, the artist can fashion a beautiful thing; and if he does not do it solely for his own pleasure, he is not an artist at all.
As cited in: Geza Revesz, The Origins and Prehistory of Language, London 1956. footnote pp. 126-127; As cited in: Adam Schaff (1962). Introduction to semantics, p. 313-314
Language (1921)
99
Mea culpa; suivi de la vie et l'oeuvre de Semmelweis (1937)
Source: Practical Pictorial Photography, 1898, Printing methods and their bearing on pictorial photography, p. 73
Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 40. (from "How to Study the Bible").