Théodore Rousseau cytaty (14 cytatów)

“What has art to do with those things [Revolution, socialism]? Art will never come except from some little disregarded corner where some isolated man is studying the mysteries of nature, fully assured that the answer which he ﬁnds and which is good for him is good also for humanity, whatever may be the number of succeeding generations.”

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Théodore Rousseau

as quoted by Romain Rolland in his book Millet, c. 1900; transl. Miss Clementina Black; published by Duckworth & Co, Londo / E. P. Dutton & Co, New York, 1919, p. 8
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“Do you see all those beautiful trees there? I sketched them all thirty years ago; I have had all their portraits. Look at that beech there, the sun lights it up and makes of it a marble column, a column that has muscles, limbs, hands and a fair skin, white and pallid... See the modest green of the heath and its plants, rosy, amaranthine, which distil honey for the bees and fragrance for the butterflies. The sun lights them up and gives them a diapason of extraordinary color. Ah, the sun..”

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Théodore Rousseau

Quote of Th. Rousseau, Sept. 1867; recorded by fr:Alfred Sensier; as cited by Charles Sprague Smith, in Barbizon days, Millet-Corot-Rousseau-Barye; publisher, A. Wessels Company, New York, July 1902, p. 164
In September 1867 (two months before Rousseau’s death, when already half paralyzed), Th. Rouseau took a ride with Sensier to look once more at the heather. He was pointing to the Sully, a giant of the wood
1851 - 1867

“I thought only of one thing, to account to myself for the laws of light and perspective. I did not attach any importance to what they found original, new and romantic in me, I sought the picture.”

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Théodore Rousseau

as quoted in Barbizon days, Millet-Corot-Rousseau-Barye by Charles Sprague Smith, A. Wessels Company, New York, July 1902, p. 141
Th. Roussseau took little part in the French art-discussions of the day between Classicists and Romanticists, in the 1830's
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“We form at La Faucille now a little colony where concord and happiness reign, and have not even for enemies the bears of the country... We are situated in a very movable manner, however, on one of the mountains of the Jura, where the inn is the most remarkable building. For I must tell you that we enjoy the company of an unaccountable old man of sixty, who resembles poor Father Colombert as if it were he himself. He is of the ancient nobility. He held the grade of General under the Restoration, having had possessions, which he has lost by the changes. He consoles himself now by carrying all his fortune. With him, a much rarer lot it consists in good humour and strength and philosophy. I have never seen a more excellent man. He is here to search for plants and stones.”

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Théodore Rousseau

Quote in a letter to Rousseau's mother, from the Jura, 17th August, 1834; as cited in The Barbizon School of Painters: Corot, Rousseau, Diaz, Millet, Daubigny, etc. , by D. C. Thomson; Scribner and Welford, New York 1890 – (copy nr. 78), pp. 111-112
1830 - 1850

“.. everything has conspired to keep from me the leisure and quiet which I could wish in order to answer you. I have also made two journeys to Paris, the last one to attend the funeral of poor Emile Diaz [son of the Barbizon-painter Narcisse Virgilio Díaz, ] of whom you ask news. His poor father was almost mad with grief, which, however, we managed to calm. You were as if present, and our thoughts associated you with the sad scene. During the return my wife was taken ill, and day by day a neuralgic attack came on which has left her very feeble. I do not know what to do, my dear friend. At the commencement I had thought of leaving her at Martigues, but now her mental condition would not permit of my leaving her. She would be afraid of being ill without me there beside her. I think I had better wait until the result of this last attack shall have left her.”

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Théodore Rousseau

Quote from Rousseau's letter to Ziem, 1856; as cited in The Barbizon School of Painters: Corot, Rousseau, Diaz, Millet, Daubigny, etc., by D. C. Thomson; Scribner and Welford, New York 1890 – (copy nr. 78), pp. 135-136
The quiet life at Barbizon was at this time broken by the death of the only son of Díaz, and by the mental distortion of Rousseau's own wife
1851 - 1867

“Yes, a man ought to be courageous enough, loyal enough, and rich enough, not to produce but one prodigious work, in order that this work should be a chef-d'oeuvre, and glorify the man in his creation... If I could have my wish, I would be a millionaire for nothing else save to effect the genesis of a single and unique picture, to consecrate myself thereto and to find my pleasure therein, to suffer and joy in it, until, content with my work, after years of trial, I could sign it and say: 'There my powers stop and there my heart ceases to beat.”

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Théodore Rousseau

as quoted by Charles Sprague Smith, in Barbizon days, Millet-Corot-Rousseau-Barye publisher, A. Wessels Company, New York, July 1902, pp. 160-61
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“Do not be anxious about [an ordered painting] 'La Ferme' my dear Mr. Hartmann, I am anxious to establish in this picture such a decision deformed, that it may exist, independently of the caprices of the light, and of the influence of the hours of the day. I am regulating it, absolutely as a watchmaker regulates a watch after he has finished it.”

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Théodore Rousseau

In a letter to Mr. Hartmann, c. 1865; as quoted in The Painters of Barbizon I – Millet, Rousseau and Diaz, by John W. Mollett, B.A.; publ. Sampton Low, Marston, Searle & Rivington, Limited, London, 1890, p. 81
Mr. Hartmann, who had bought this and two other pictures had waited for them fifteen years, at last became impatient, and wrote Rousseau: 'I shall only enjoy my pictures in my extreme old age, when I shall have become too blind to see them'. his biographer/friend Alfred Sensier wrote: this seemed to Mr. Hartmann 'as the reasoning of a troubled mind.' https://archive.org/details/souvenirssurthr00sensgoog?q=Theodore+Rousseau
1851 - 1867

“If my painting depicts faithfully and without over-refinement the simple and true character of the place you have frequented, if I succeed.... in giving its own life to that world of vegetation, then you will hear the trees moaning under the winter wind, the birds that call their young and cry after their dispersion; you will feel the old chateau tremble; it will tell you that, as the wife you loved, it too will.... disappear and be reborn in multiple forms.. One does not copy with mathematical precision what one sees, but one feels and interprets a real world, all of whose fatalities hold you fast bound.”

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Théodore Rousseau

Quote in a letter to M. Guizot, c. 1839-41; as cited by Charles Sprague Smith, in Barbizon days, Millet-Corot-Rousseau-Barye publisher, A. Wessels Company, New York, July 1902, pp. 172-173
The Duke de Broglie had ordered of Rousseau a painting of the 'Chateau de Broglie', for his friend M. Guizot. Madame Guizot had died there, and The Duke de Broglie urged Rousseau to make the painting grave and sad.. The quote presents Rousseau’s responding
1830 - 1850

“The tree which rustles and the heather which grows are for me the grand history, that which will not change. If I speak well their language, I shall have spoken well the language of all times.”

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Théodore Rousseau

as quoted in Barbizon days, Millet-Corot-Rousseau-Barye by Charles Sprague Smith, A. Wessels Company, New York, July 1902, p. 132
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“The news of our health is not good. My wife has been in agony several times, but she is having a little rest now. As for myself, I am better in a certain sense, and worse in another. I have still that feverish blood which runs through me, and which troubles my brain when my pains are most acute. I have again left off work, and again recommenced. Now I can do nothing, and it is killing me... In this we are all warned we must have health for a motto. Therefore, take care of yourself to the end, and do not tire yourself too much. Usually you inscribe my name on the official list for the [Paris] Salon towards the new year, and you will doubtless do it this year. As it is useless to make ourselves enemies in this way, this is what we must do: request Etcheverry to erase mine from the lists or I will send you cards to use as you think best.”

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Théodore Rousseau

Quote from a letter to fr:Alfred Sensier, Dec. 1866; as cited in Alfred Sensier, Souvenirs sur Th. Rousseau; quoted in The Barbizon School of Painters: Corot, Rousseau, Diaz, Millet, Daubigny, etc., by D. C. Thomson; Scribner and Welford, New York 1890 – (copy nr. 78), pp. 142-143
1851 - 1867

“I heard the voices of the trees; the surprises of their movements. Their varieties of form and even their peculiarity of attraction toward the light had suddenly revealed to me the language of the forest. All that world of flora lived as mutes, whose signs I divined, whose passions I discovered. I wished to converse with them and to be able to say to myself, through that other language, painting, that I had put my finger upon the secret of their grandeur.”

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Théodore Rousseau

quote from a talk between Th. Rousseau and Alfred Sensier, 1850's; as cited in Barbizon days, Millet-Corot-Rousseau-Barye by Charles Sprague Smith, A. Wessels Company, New York, July 1902, p. 147
Alfred Sensier frequently visited the studio of Th. Rousseau (and Millet) and wrote later a book about both artists
1851 - 1867

“My good Mama, I am always the same.... always the same happy life, always fresh for seeing, vigorous for running, and diligent for one end... The Mont Blanc is our alarm clock in the morning, our vis-a-vis are the folk on the other side of the lake of Geneva, (8 leagues). I could not say that we get along badly, though we do dispense with the ceremony of saluting each other and saying bon jour when we look out at the window, for we don't meddle in our neighbors' affairs. Our sight carries fifty leagues about us, and we are equally everywhere, although only occupying the space of our two feet. I am delighted with having received my stretchers in order to commence my view of the Alps. I burn with the desire of fulfilling the difficult task of giving upon canvas an idea of the immensity which surrounds me in order to distribute its benefits to those less fortunate than myself... I ask without scruple, because it seems to me that I have something to give. I have so much confidence in myself, mon Dieu, when I examine myself.”

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Théodore Rousseau

Quote of Th. Rousseau, in a letter to his mother, late Summer 1834, from the Alps, Switzerland; as cited in Barbizon days, Millet-Corot-Rousseau-Barye by Charles Sprague Smith, A. Wessels Company, New York, July 1902, pp. 152-53
1830 - 1850

“Ah! Silence is golden. When I was in my observatory at Belle-croix, I dared not move as the silence opened to me a course of discoveries. The families of the wood were then in action. It was the silence that permitted me, immovable as a tree trunk, to see the deer in their hiding-place and at their toilet, to observe the habits of the field rat, of the otter, of the salamander, those fantastic amphibious animals. He who lives in the silence becomes the center of a world; a little more and I could imagine myself the sun of a small creation, if my studies had not recalled to me that I had so much trouble to reproduce a poor tree or a cluster of rushes.”

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Théodore Rousseau

Quote recorded by fr:Alfred Sensier, in Souvenirs sur Rousseau, Paris, 1872; as cited in The Barbizon School of Painters: Corot, Rousseau, Diaz, Millet, Daubigny, etc., by D. C. Thomson; Scribner and Welford, New York 1890 – (copy nr. 78), p. 120
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“Do you see that corner of canvas there [of his painting 'La Ferme'], large as the hand, does it not seem to you that it far surpasses in intensity, in clearness, in expression, the rest of the canvas? [Sensier confirmed]. Well, then, all the rest must pass under the control of that little centre; all that which surrounds it submit itself to that diapason of light and the whole of the picture be as charged with life as that which you see there. Must we not incessantly lift ourselves, surpass ourselves, in this terrible profession of painter?”

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Théodore Rousseau

quote from a talk with Alfred Sensier, c. 1865; as cited in Barbizon days, Millet-Corot-Rousseau-Barye by Charles Sprague Smith, A. Wessels Company, New York, July 1902, pp. 159-60
the quote is pointing to his painting 'The Farm / La Ferme', upon which Rousseau had worked for years
1851 - 1867