“As far as my work concerned, I am busy with a few small paintings, one is ordered and the other I have to 'adventure'. More and more I feel that I am short of so many studies, if I had the money, I didn't make any painting next year, I would only study [sketches]; but well, you have to make the best of a bad job, it will be hard enough to enable myself a living.”

— Anton Mauve

translation from original Dutch, Fons Heijnsbroek, 2018
(version in original Dutch / origineel citaat van Anton Mauve, uit zijn brief:) Wat mijn werk betreft zit ik aan enige kleine schilderijtjes, een is mij besteld en die andere moet ik avonturen. Ik voel hoe langer hoe langs hoe meer dat ik zooveel studie te kort kom, als ik geld had schilderde ik in het eerste jaar geen schilderij en studeer ik [schetsen], maar enfin je moet eens door een zure appel heenbijten, het zal mij moeite genoeg kosten om te kunnen leven.
Quote of Mauve, in a letter to Willem Maris, from Oosterbeek, 1864; as cited in Anton Mauve 1838 - 1888, exhibition catalog of Teylers Museum, Haarlem / Laren, Singer, ed. De Bodt en Plomp, 2009, p. 133
1860's

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Anton Mauve 29

Dutch painter (1838–1888) 1838–1888

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“Do you know what I really need to make a well-finished painting? 2 years at Gérome or somebody like him, working in the studio.... because that is the only way to become a good painter. That whole business.. then a small watercolour than a little painting and finally when I have earned so much that I could study, I have become too old and too miserable.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

translation from the original Dutch, Fons Heijnsbroek
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Weet U wat ik nodig heb om een goed afgewerkt schilderij te maken? 2 jaar bij Gérome of zoo iemand op 't atelier te werken.. ..want dat is de enige manier om een goed schilder te worden. Dat gewurm, dan een aquarelletje dan een schilderijtje en eindelijk als ik daardoor zo veel verdiend heb dat ik zou kunnen studeeren ben ik te oud en te beroerd geworden.
In his letter to A.P. van Stolk, nr. 51, c. 1884; RKD-Archive, The Hague; as cited in master-thesis Van Gogh en Breitner in Den Haag, Helewise Berger, University of Utrecht, The Netherlands, p. 29
Breitner responds to accusations from his Maecenas that he refused to learn from well-known Dutch painters how to finish his paintings well. In 1884 already Breitner started in the studio of Cormon in Paris
before 1890

“I am busy painting every day studies of the weavers here, which I think are technically better than the painted studies from Drenthe, which I sent you.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

1880s, 1884
Source: Quote from Letter 355, from Nuenen The Netherlands, January 1884; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, page: Catalog: Dutch Period 2. - Weaver

“I wish I could paint more... I do dozens of sketches for oils.... if I do one that interests me I go on to make a painting but that happens only two or three times a year.”

Edward Hopper (1882–1967) prominent American realist painter and printmaker

Quote in 'Travelling Man', Time January 1948
1941 - 1967

“I studied a good deal in the museum at Naples; the Pompeian paintings are extremely interesting from every aspect. So I am staying in the sun – not to paint portraits but while I am warming myself and looking hard at things I hope I will have acquired some of the grandeur and simplicity of the old masters. Raphael didn't work out-of-doors, but he studied the sunlight all the same – his frescoes are full of it. So, by looking around outside, I have finished by seeing only the broad harmonies, and am no longer preoccupied with the little details, which only extinguish the sunlight, instead of increasing its brilliance. I hope therefore, when I get back to Paris, to produce something which will be the outcome of all these general studies, and to give you the benefit of them”

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

in a letter written during his three-weeks-stay, working with Paul Cezanne at l'Estaque, near Marseille
Source: 1880's, Renoir – his life and work, 1975, p. 169 in a letter to madame Charpentier, l'Estaque, January 1882

“Frankly, this is my position: I have been painting for two years, and my only models have been your [ Monet's ] own works; I have been following the wonderful path you broke for us. I have always worked regularly and conscientiously, but without advice or help, for I do not know any impressionist painter who would be able to guide me, living as I am in an environment more or less hostile to what I am doing. And so I fear I may lose my way, and I beg you to let me see you, if only for a short visit. I should be happy to show you five or six studies; perhaps you would tell me what you think of them and give me the advice I need so badly, for the fact is that I have the most horrible doubts, having always worked by myself, without teacher, encouragement, or criticism.”

Paul Signac (1863–1935) French painter

In a letter to Claude Monet, 1880; quoted by Geffroy: Claude Monet, vol. I, p. 175; as quoted by John Rewald, in Georges Seurat', a monograph https://ia800607.us.archive.org/23/items/georges00rewa/georges00rewa.pdf; Wittenborn and Compagny, New York, 1943. p. 15
In 1880 an exhibition of the works of Claude Monet had - as Signac was to say later - 'decided his career,' - and after his first efforts as an impressionist Signac had ventured to appeal to Monet, writing him this sentence in his letter

“.. in an review of the exhibition in Arti, [in Amsterdam] you say that most of my submissions are not meant as a study. I don't know what you mean by study. I understand a study as a work I am painting directly after nature, with the aim hold on the casual tone, color and line. All of mine that is presented there, is immediately felt in nature and not one of the sketches is done by heart after received impressions for any paintings. I thought I had to tell you this, because then you might get a different view of it - whether you think they are more worthy or not because of this, I don't want to judge.... yours GH Breitner”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

Mejufvrouw In een stukje over de Tent. in Arti zegt u dat het meerendeel van mijn inzending niet als studie bedoeld zijn. Ik weet niet wat u onder studie verstaat. Ik versta daar onder wat men direct naar de natuur schilderd om de toevallige toon kleur en lijn vast te houden. Na alles wat er van mij is. is dadelijk naar de natuur ervaren en zijn geen van allen [1:2] schetsen uit het hoofd gedaan na ontvangen indrukken voor eventuelen schilderijen. Ik meende u dat te moeten zeggen omdat u er dan misschien een anderen kijk op krijgt of u vind dat ze daarom verdienstelijker zijn of niet wil ik niet beoordeelen.. ..Hoogachtend uw GH Breitner
quote of Breitner in a letter to art-critic Grada Hermina Marius, 22 Feb. 1908; original text in RKD-Archive, The Hague https://rkd.nl/explore/excerpts/951
1900 - 1923

“I have just finished one painting and am already at work on the preliminary drawings for the next one. I must do something in order to get rid of such habits or I won't manage to find time for any vacation. I have had this new painting in my mind since January, and must get it down on canvas.”

Wassily Kandinsky (1866–1944) Russian painter

Quote from his letter to Freundlich, 15 July 15, 1938; as cited in Kandinsky in Paris: 1934-1944 - exhibition catalog, published by The Solomon K. Guggenheim Foundation, New York, 1985, p. 27
1930 - 1944

“I can't hold out any longer and am in a state of utter despair. After a few days of good weather, it's raining again and once again I have had to put the studies I started to one side. It's driving me to distraction and the unfortunate thing is that I take it out on my poor paintings. I destroyed a large picture of flowers which I'd just done along with three or four paintings which I not only scraped down but slashed. This is absurd... Please be kind enough to have some money forwarded to me.”

Claude Monet (1840–1926) French impressionist painter

Quote in a letter from Pourville c. 1882, to his art-dealer Durand-Ruel; as cited in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 50
1870 - 1890

“I don't work from drawings and colour sketches into a final painting. Painting, I think, today – the more immediate, the more direct – the greater the possibilities of making a direct – of making a statement.”

Jackson Pollock (1912–1956) American artist

Source: 1950's, Interview by William Wright, Summer 1950, p. 144

“The smaller the world, the better I feel. When the reed is around me, evil has disappeared from the world. I really shall paint the reed next year, I've seriously decided. A small area of reeds with some water under. And then it will appear [on the canvas] exactly in the way it will make one quiet. I will paint it outdoors because I don't have any imagination - by the way, I would find myself very cheeky if I did. I have nothing to add, I have nothing in me and I believe I must be well aware of that because that is my limitation, as a consequence of my temporality.”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Hoe kleiner de wereld, hoe beter ik me voel. Het riet om mij heen, dan is het kwade de wereld uit. Volgend jaar zal ik dat riet schilderen, ik heb het mij heilig voorgenomen. Een stukje riet met een stukje water eronder. En dan komt het er precies zo op dat je er stil van wordt. Ik schilder het buiten, want fantasie heb ik niet en dat zou ik trouwens een grote brutaliteit van mijzelf vinden. Ik heb er niets aan toe te voegen, ik heb niets in mij en ik geloof dat ik dat mijzelf goed bewust moet zijn, want als gevolg van mijn tijdelijkheid is dat mijn beperktheid.
Source: Jopie Huisman', 1981, p. 118

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