“I did not come to know part II of 'Faust' until long after I made my illustrations, and even then only very superficially. It struck me as an ill-digested work, of little interest from the literary standpoint, but among those most calculated to inspire a painter owing to the mixture of characters and styles it contains... You asked what gave me the first idea of the Faust lithographs. I remember that about 1821 I saw the designs made by Retch [ Retzsch] and found them rather striking; but it was above all the performance of a dramatic opera on Faust that I saw in London in 1825 which stirred me to do something on the subject. The actor.... was a perfect Mephistopheles; he was fat, but that in no way diminished his nimbleness and his Satanic character.”

— Eugène Delacroix

Quote in Delacroix' letter to Philippe Burty, 1 March 1862; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 76
Delacroix describes the source of his series Faust lithographs
1831 - 1863

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Eugène Delacroix 50

French painter 1798–1863

Dermot Healy (1947–2014) Irish writer

John O'Mahony (2000). Let the west of the world go by http://www.guardian.co.uk/books/2000/jun/03/fiction.johnomahony, The Guardian (3 June 2000)

“I did not direct my life. I didn’t design it. I never made decisions. Things always came up and made them for me. That’s what life is.”

B.F. Skinner (1904–1990) American behaviorist

As quoted in "Unpacking the Skinner Box : Revisiting B. F. Skinner through a Postformal Lens" by Dana Salter in The Praeger Handbook of Education and Psychology Vol. 4 (2008) edited by Joe L. Kincheloe and Raymond A. Horn, Ch. 99, p. 872.

“Primarily, they (ideas) come from daydreaming or every day occurrences. I try to get out and about, especially new places to let the environment inspire me. I start an illustration of a building I see and then the elements of different characters will populate in my mind like a set and actors on a stage. If nothing comes up I continue to draw until something unfolds.”

Lorin Morgan-Richards (1975) American poet, cartoonist, and children's writer

Regarding how he comes up with ideas for his comic strips The Goodbye Family and The Noodle Rut (1 June 2017).
Source: Lorin Morgan-Richards Newsletter #2, Us6.campaign-archive2.com, 2017-06-26 http://us6.campaign-archive2.com/?u=51e751ef352e602deca0ecdc7&id=2e82f26313,

“The tribesmen understand this very well, although they would not describe it in the same terms I have. It is simply a working part of their lives. Do you think they would continue to consult me if they found that the advice that I gave them did not work? They are uncivilized, but they are not insane.”

James Blish (1921–1975) American author

Source: Short fiction, Midsummer Century (1972), Chapter 3 (p. 21)

“To answer your first question - most significantly the [ Federal Art Project ] project was my training ground in the real sense of the word. I feel very strongly about this. We were all poor, or most of us, and to have the time and opportunity to continue working - I was then in my twenties which is the important period - the crucial period for the young painter. This was most important and figures significantly in my own development. Although I feel that my personal image as a painter did not come about until I began my easel painting with personal imagery which was about 1941. The project kept me alive and working - it was my education.”

Phillip Guston (1913–1980) American artist

n.p.
1961 - 1980, Oral history interview with Philip Guston, 1965 January 29

“You know in childhood it is difficult to be different. I spent long times in hospitals and it was complicated, but it made me know how strong I can be, and it helped me to get my wills. A long time ago I started to shoot my little short with my own cam with friends, but in 2005 came my first professional work. I visited an FX make up workshop and took a look at what else the teacher was doing outside of classes. He was working for movies and then I offered myself for work and have them take benefit of my peculiar body.”

Javier Botet (1977) Spanish actor

Holy “Mama” – An Interview with Javier Botet https://thedodgy.com/2013/11/22/holy-mama-an-interview-with-javier-botet/ (November 22, 2013)

“I now began to search for a new path in art [from 1914, with the outbreak of World War 1. ]. It was a major task. I understood that I did not have to paint what I saw, not even what I felt, but only that which lived within me, in my soul. To put it in symbolic terms, it is like this: I felt within myself, within my breast, the keyboard of an organ and I had to make it resonate. And the nature that was in front of me served me only as a prompter. And that was a key that unlocked this organ and made it resonate. In the beginning it was very difficult. But little by little, it became easy for me to use colours and forms to find what was within my soul.”

Alexej von Jawlensky (1864–1941) Russian painter

In his letter, 12 June, 1938 to P. Willibrord Verkade, as quoted in Alexej von Jawlensky, der Maler und Mensch, , Clemens Weiler; Wiesbaden 1955, pp. 39 ff
1936 - 1941

“I was very sickly and weak during the first years of my infancy, and was, as much as I can remember of myself, a very whimsical boy. Sometimes I learned with enthusiasm, and often found myself in such a kind of ecstasy, that I neither could see nor hear what passed around me. In these fits of thought I forgot playthings and playfellows; I was happy only in my own musings. I always preferred the company of little girls to boys. I was not ten years old when I presented them with some poetry and little verses, the effusions of my heated imagination; some of them fell into my hands in riper years, and after reading them over, I left off poetry altogether. I loved my first private teacher very much; I even can remember him now. My second teacher was a simpleton; he could never understand me, nor enter into my feelings. My antipathy to this man grew daily greater; I could not learn of him, nor could he teach me anything. At last, when in my thirteenth year, I got rid of him, and he being encumbered with debts, I gave him my saving-box when he left. Whether I did this for pity's sake, or joy to get rid of him, I did not know.”

Albrecht Thaer (1752–1828) German agronomist and an avid supporter of the humus theory for plant nutrition

My Life and Confessions, for Philippine, 1786

“You know, these things interested me before I became a businessman and I kind of neglected them during twenty, twenty-five years, while I was engaged in making money, because running a hedge fund takes, you know, a hundred percent of your attention on Saturday morning, and so I didn't get involved in these issues very much. It's only when I was rather successful at it and I've made enough money for my personal needs and to look after my family that we established this interest and, by now, it is more important to me than my business.”

George Soros (1930) Hungarian-American business magnate, investor, and philanthropist

Interview with Mark Shapiro (2000)

“As soon as I came to England, really, I must have about spent two or three months bouncing around the pop world trying to get an idea of what England was. I wasn't really motivated by anything else. And nothing really inspired me. I was really confused about who I was and where I stood in society, you know what I mean? You come there and you just don't know what the hell is going on. And then I remember the first house we stayed in and I watched 'Top of the Pops' and it was like- woah! It was the first music show that I saw on TV. I saw Madonna, Whitney Houston. It was amazing”

M.I.A. (1975) British recording artist, songwriter, painter and director

Interview http://www.desiclub.com/desimusic/desimusic_features/music_article.cfm?id=202 (2006)
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