“A banal fever hallucination, soon obliterated and forgotten; it didn't reappear in M's memory until about thirty years later (on 10 August 1925), as he sat alone on a rainy day in a little inn by the seaside, staring at the wooden floor which had been scored by years of scrubbing, and noticed that the grain had started moving of its own accord (much like the lines on the [imitation] mahogany board of his childhood). As with the mahogany board back then, and as with visions seen between sleeping and waking, the lines formed shifting, changing images, blurred at first but then increasingly precise. Max {Ernst] decided to pursue the symbolism of this compulsory inspiration and, in order to sharpen his meditative and hallucinatory skills, he took a series of drawings from the floorboards. Letting pieces of paper drop at random on the floor, he rubbed over them with a black pencil. On careful inspection of the impressions made in this way, he was surprised by the sudden increase they produced in his visionary abilities. His curiosity was aroused. He was delighted, and began making the same type of inquiry into all sorts of materials, whatever caught his eye – leaves with their ribs, the frayed edges of sacking, the strokes of a palette knife in a 'modern' painting, thread rolling off a spool, and so forth. To quote 'Beyond Painting' These drawings, the first fruits of the frottage technique, were collected under the title 'Histoire Naturell.”

— Max Ernst

Quote in 'Biographical Notes. Tissue of truth, Tissue of Lies', 1929; as cited in Max Ernst. A Retrospective, Munich, Prestel, 1991, pp.283/284
1910 - 1935

Adopted from Wikiquote. Last update June 3, 2021. History

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Max Ernst 20

German painter, sculptor and graphic artist 1891–1976

Tom Holt (1961) British writer

Faust Among Equals (1994)

“Nobody took any notice. Even Jan Christian Duysberg had guessed that one back in the 1740s, and he had been thirty-four years old before he realised he was left-handed.”

Tom Holt book Flying Dutch

c.2
Flying Dutch (1991)

“Every moment of every day and night he was able to take the measure of his failure now. Even his family's poverty which for years he had refused to admit, began to grow familiar to him, but like the memory of a companion that one has left behind. Rose-Anna…She'd been a young girl at his side, then tired, then overwhelmed, and here she was sleeping beside him on a kind of pallet, on the floor. He could hear the whimpers from the children in their sleep.”

Gabrielle Roy book The Tin Flute

Source: The Tin Flute (1945), P. 281-282

“Ordinarily, when he thought back upon those days, let alone upon his student years and the Bamboo Grove, it had always been as if he were gazing from a cool, dull room out into broad, brightly sunlit landscapes, into the irrevocable past, the paradise of memory. Such recollections had always been, even when they were free of sadness, a vision of things remote and different, separated from the prosaic present by a mysterious festiveness.”

Hermann Hesse book The Glass Bead Game

The Glass Bead Game (1943)

“I think I will go back to mahogany [wood, as layer for his paintings], the only stable wood, together with old oak. But mahogany is so heavy. And it has another drawback, it blackens even through the primers if they are not thick enough and applied in several coats.”

Eugène Boudin (1824–1898) French painter

Quote from Boudin's letter in 1894; as cited in 'Figures on the Beach in Trouville, 1869', by Anne-Marie Bergeret-Gourbin https://www.museothyssen.org/en/collection/artists/boudin-eugene/figures-beach-trouville, Museo Thyssen
Eighty percent of Boudin's beach scenes are painted on wood panels; in small formats, c. 30 x 45 cm
1880s - 1890s

“He had learned self-control in a hard school. He had been married for thirty years.”

Glen Cook book The Silver Spike

Source: The Silver Spike (1989), Chapter 26 (p. 528)

“I recalled the myth that I had once heard as a university student — thirty-six hidden saints in the world, all of them doing the work of humble men, carpenters, cobblers, shepherds. They bore the sorrows of the earth and they had a line of communication with God, all except one, the hidden saint, who was forgotten. The forgotten one was left to struggle on his own, with no line of communication to that which he so hugely needed. Corrigan had lost his line with God: he bore the sorrows on his own, the story of stories.”

Colum McCann book Let the Great World Spin

Let the Great World Spin (2009), Book One: All Respects to Heaven, I Like it Here

“Many convicts were bewildered by the first days of the voyage to Australia. Most had never seen the open sea until they boarded the convict ship, and few had travelled in a ship. And now, by sentence of the courts, they were about to begin one of the longest voyages any traveller could make.”

Geoffrey Blainey (1930) Australian historian

The Story of Australia's People: The Rise and Fall of Ancient Australia (2015)

“Christmas is here:
Winds whistle shrill,
Icy and chill.
Little care we;
Little we fear
Weather without,
Sheltered about
The Mahogany Tree.”

William Makepeace Thackeray (1811–1863) novelist

The Mahogany Tree, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

“I had now been on board the frigate upward of a year, and remained unscourged; the ship was homeward-bound, and in a few weeks, at most, I would be a free man.”

Herman Melville book White-Jacket

Source: White-Jacket (1850), Ch. 67
Context: I had now been on board the frigate upward of a year, and remained unscourged; the ship was homeward-bound, and in a few weeks, at most, I would be a free man. And now, after making a hermit of myself in some things, in order to avoid the possibility of the scourge, here it was hanging over me for a thing utterly unforeseen, for a crime of which I was as utterly innocent. But all that was as naught.

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