“I recollect after the war in '71 [in Paris, where he stayed then and was fighting against the German] there were some debts to pay of course: what had I to do? I said to Wisselingh [Dutch art-dealer] who was with Goupil, 'tell them that I'll take them back later on.' I've never been able to do so, for one Van Gogh [probably Vincent, then art-seller at Goupil], his partner, gave me 200 francs, someone bought it for 350, and sold it in America for 700 pounds. He had asked Wisselingh how long it had taken me to do [make] it; he said a week, so I was the chap for him; no wonder he was always talking making fortune, fancy 100 pounds per day, make some more or this sort: do it only for a year. So I had to commit suicides upon suicides [he means, making salable paintings]: what did it matter to him or anyone else? Someone said once to me: 'You must have somebody fool enough to say, here is money for you, and go your own way': that is the very thing one may not do. There is always someone telling you how to set about, and then come the schools telling you that it is not allowed to be one's self, but that one has to be a Roman or Greek, or imitate what they have performed..”

— Matthijs Maris

in a letter to David Croal Thomson (1907), as cited in: The Brothers Maris (James – Matthew – William), ed. Charles Holme; text: D.C. Thomson https://ia800204.us.archive.org/1/items/cu31924016812756/cu31924016812756.pdf; publishers, Offices of 'The Studio', London - Paris, 1907, p. BMxvii

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Matthijs Maris 9

Dutch painter 1839–1917

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“.. Besides of all things I hated and detested was painting. They told me I had a talent for it, and was a clever chap and could make as much money as I liked. Money always the principal thing and so it happens that I got forced into it. Being considered a very clever talented chap, after the war or siege of Paris [1870-71], a young fellow of the name of Vincent van Gogh [not painting yet, but still art-seller at Goupil in Paris] came around asking me for advice... The law of the pocket: 'full' signifies 'rich'; empty 'poor', all the world over the same; black, brown, yellow or white skinned. Heathen, barbarians, Mahommetans; pocket full, 'power”

Matthijs Maris (1839–1917) Dutch painter

empty, 'helpless'.
in a letter to David Croal Thomson (1907), as cited in: The Brothers Maris (James – Matthew – William), ed. Charles Holme; text: D.C. Thomson https://ia800204.us.archive.org/1/items/cu31924016812756/cu31924016812756.pdf; publishers, Offices of 'The Studio', London - Paris, 1907, p. BMxxxviii

“I don't think it was pain that made [Vincent Van Gogh] great - I think his painting brought him whatever happiness he had.”

David Lynch (1946) American filmmaker, television director, visual artist, musician and occasional actor

“My dear Theo, Feeling, even a fine feeling, for the beauties of nature isn't the same as religious feeling, although I believe that the two are closely connected. The same is true of a feeling for art. Don't give in to that too much either. Hold fast especially to your love for the firm [of the Paris' art dealers Goupil & C0, where both brothers worked - Vincent started in 1869 and Theo in 1873] and for your work.... Nearly everyone has a feeling for nature, some more than others, but there are few who feel that God is a spirit, and that they must worship Him in spirit and in truth. Pa is one of the few, Ma too, and also Uncle Vincent, I believe.”

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

quote from his Letter #049 to Theo on 'religious feeling' (Paris, 17 Sept. 1875) http://vangoghletters.org/vg/letters/let049/letter.html
1870s

“Weissenbruch to Anton Mauve: He [ Vincent van Gogh ] is drawing damn well, I could paint after his studies.”

Jan Hendrik Weissenbruch (1824–1903) Dutch painter of the Hague School (1824-1903)

version in original Dutch, Weissenbruch tegen Anton Mauve: Hij teekent verdomd goed, ik zou naar zijn studies kunnen werken.
a remark to Anton Mauve, who asked Weissenbruch to visit Vincent van Gogh and see his work
Source: J. H. Weissenbruch', (n.d.), p. 44, note 1

“After viewing a few paintings and a drawing that I had brought in the day before yesterday, Mr. v. d. Kellen [Dutch art-dealer] assured me that there was absolutely no chance of placing anything of mine here, unless it was bought under pressure of a pleasant future, and I think he is right because he showed me various paintings, and specifically those that were closest to my understanding of art were the most difficult to place... I was astounded and furious about such far-reaching stupidity and the pedantry of the man [another art dealer, Herman Deichmann]. All the paintings present were beneath criticism, they were just the usual German Academic-stuff.”

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

The Hague, 1882
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) De heer v.d. Kellen heeft mij na het zien van eenige schilderijtjes en een tekening, die ik eergisteren mee gebracht had, de verzekering gegeven dat er niet de minste kans bestaat hier iets van mij te plaatsen, tenzij dat het gekocht wordt door pressie een prettig vooruitzicht en ik geloof dat hij gelijk heeft want hij liet mij verschillende schilderijen zien en juist degenen die naar mijn begrippen de kunst 't meest nabij kwamen waren 't moeilijkst te plaatsen.. .Ben verbaasd en woedend geweest over de verregaande stupiditeit en pedanterie van dien heer (kunsthandelaar, Herman Deichmann). Alle schilderijen daar aanwezig waren beneden kritiek, waren enfin 't gewone duitsche Academietuig. (Den Haag, 1882)
Quote from Breitner's letter to A.P. van Stolk, undated c. Sept. 1882, (location: The RKD in The Hague); as quoted by Helewise Berger in Van Gogh and Breitner in The Hague, her master-essay in Dutch - Modern Art Faculty of Philosophy University, Utrecht, Febr. 2008]], (translation from the original Dutch, Anne Porcelijn) p. 69.
Following the advice of his maecenas Mr.van Stolk, Breitner had shown his work to two Dutch art-dealers; In this quote he later gives his report and his opinion.
before 1890

“Albers [on Black Mountain College ] was a beautiful teacher and an impossible person. He wasn't easy to talk to, and I found his criticism so excruciating and so devastating that I never asked for it. Years later, though, I'm still learning what he taught me, because what he taught me had to do with the entire visual world. He didn't teach you how to 'do art'. The focus was always on your personal sense of looking… I consider Albers the most important teacher I've ever had, and I'm sure that he considers me one of his poorest students.”

Robert Rauschenberg (1925–2008) American artist

Source: 1960's, The Bride and the Bachelors, (1962), p. 198

“My mind has been so much occupied these days by the thought of Cézanne, of how he has been one of the three or four powerful artists who have affected me like a thunderstorm, like some great event. Do you still remember what we saw at Vollard [art-seller in Paris who showed Cézanne's works frequently in his gallery] in 1900? And then, during the final days of my last stay in Paris, those truly astonishing early paintings of his at the Galerie Pellerin. Tell your husband he should see the things there... If it were not absolutely necessary [Paula was pregnant] for me to be here right now [Germany], nothing could keep me away from Paris.”

Paula Modersohn-Becker (1876–1907) German artist

In a letter from Worpswede, 21 October, 1907, to her friend Clara Rilke-Westhoff; as quoted in Voicing our visions, - Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 208
October 1907 Rilke started to write his famous series 'Letters on Cézanne' to his wife Clara Rilke-Westhoff
1906 + 1907

“It is, after all, our imagination that makes us human. Vincent van Gogh asked, “What would life be if we had no courage to attempt anything?””

Will Gompertz (1965) British journalist

To which the answer is, I would have thought, boring, bordering on pointless.
Think Like an Artist (2015)

“As far as I know, he never asked where she had been or why she had left and she never told. I guess some stories do not need telling.”

Khaled Hosseini book The Kite Runner

Source: The Kite Runner

“My body is old and tired, but I'll bounce back. I think Mazeroski can do the same if he takes off a few pounds and gives them to me. I need them.”

Roberto Clemente (1934–1972) Puerto Rican baseball player

On being informed that Mazeroski had claimed he wouldn't be retiring if he had Clemente's body; as quoted in "Sidelights on Sports: Monday Morning's Sports Wash" by Al Abrams, in The Pittsburgh Post-Gazette (Monday, October 2, 1972), p. 24
Baseball-related, <big><big>1970s</big></big>, <big>1972</big>

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Matthijs Maris 9

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