“He [ Richard Wagner ] was very happy but very nervous [Renoir proposed him to paint his portrait]... In short, I think I spent my time well, thirty five minutes is not long, but if I had stopped sooner it would have been better, because my model [Wagner] ended up by losing some of his good humor, and he became stiff. I followed these changes too closely [in the portrait]... At the end Wagner asked to see it. He said 'Ah! Ah! It's true that I look like a Protestant minister.”

— Pierre-Auguste Renoir

But I [Renoir] was very happy it wasn't too much of a flop: There is something of that admirable face in it' <br class="br">Quote of Renoir, in his letter to a friend, 15 Jan. 1882; as cited in 'Pierre Auguste Renoir - Richard Wagner', text of museum D'Orsay http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/richard-wagner-11042.html?no_cache=1 <br class="br">At the beginning of 1882, Renoir was travelling in the south of Italy and visited Palermo where Wagner was staying. Renoir proposed a short sitting for the following day and Wagner agreed; he had just finished his 'Parsifal'. <br class="br">1880's

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Pierre-Auguste Renoir44

French painter and sculptor 1841–1919

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“I did not care for Wagner. My tastes are more classical. Der Fuhrer had no musical taste and liked Wagner because of the bombastic Teutonic glories.”

Hans Frank (1900–1946) German war criminal

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“It's a good likeness of The Dutchman. It's perfect the way they have him holding a bat in his big hands. He was good with the bat but he was a terror with that glove, too. And my, how he could run the bases. Come to think of it, he was as good a ball player as I ever saw. Maybe the best. John McGraw always said Wagner was the greatest and I'm inclined to agree with him. He was certainly the best I ever played against. Wagner was a huge man with huge hands. He could cover ground and he could throw. Amazing thing about him was his arm. It was only as good as the runner. If you were an average runner, he'd just beat you with his throw. And if you were fast, he'd just beat you again.”

Casey Stengel (1890–1975) American baseball player and coach

As quoted in "The Scoreboardː Stengelː 'Wagner Best I Ever Saw'" https://news.google.com/newspapers?id=_kYqAAAAIBAJ&sjid=9U4EAAAAIBAJ&pg=7207%2C1231475 by Les Biederman, in The Pittsburgh Press (July 7, 1963), Sec. 4, p. 3

“My dad was great. He was very droll, very dry. The first time that he came to London when I was in the theatre and my name was in lights for the very first time and we had the same name, and he passed the theatre with me on the way, he was going to see a matinee and me, and my mother and he passed the theatre, and I said, 'Look,' and he looked up at my name in lights, and stood there for five minutes, and I'm going, 'I want to have lunch and get back for the matinee,' and I'm with my mother, and he still stood there and so, I went back to get him and he just said, 'I never thought that I'd see my name in lights.”

Albert Finney (1936–2019) English actor

Interview with Paul Fischer at Dark Horizons (2 December 2003).

“Wagner exploited all forms of expression at a composer's disposal -- harmony, dynamics, orchestration -- to the extreme. His music is highly emotional, and at the same time Wagner has extraordinary control over the effect he achieves. That's why there is also something manipulative about Wagner's music, which is not to say that it's not honest. In fact, I believe that it's totally honest, but it also happens to be manipulative.”

Daniel Barenboim (1942) Israeli Argentine-born pianist and conductor

SPIEGEL Interview with Daniel Barenboim

“One Sunday, Diego came to the house to see my paintings and critiqued all of them in a very clear manner, and he told me all the possibilities he saw in them. Then I painted two or three things, which are around the house, that to me seem very influenced by him [circa 1928]. They are portraits of thirteen- or fourteen-year-old kids... In 1929, I joined the Communist Party, I got married to Diego, and I had my first abortion. In that year I painted a portrait of Cristina Moya.... and other drawings that Morillo Safa [her main patron] owns. The unfinished [self-]portrait of my first abortion was my first Surrealist painting ['Frida and the Caesarean', she painted in 1929] but not completely. I have it [at home].”

Frida Kahlo (1907–1954) Mexican painter

1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My Painting', p. 74

“They [Jawlensky and Münter] often lived here in our Murnau house. But Paul Klee and Franz Marc were also close friends, and August Macke, too, whenever he was in Munich... Klee was never as active a theorist, in those years, as Kandinsky or Marianne de Werefkin. Besides, it took Klee much longer to become a truly and conscious modern artist... As you can see in my portrait of Klee, which is painted in 1913 – I mean the one where he is seen seated in one of the rooms here downstairs and wearing white summer slacks – he is not very communicative. That is why I depicted him all hunched up and tense, as if he were constraining some mainspring within himself. In my eyes, it was almost a portrait of silence rather than of Klee, and for many years it no longer occurred to me that he had been my model. But Klee was always a close friend of ours, and Kandinsky and I had great confidence in his talent and his future.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 120

“It is difficult composing endings. Beethoven and Wagner could do it. Only great composers can do it. I can do it too.”

Richard Strauss (1864–1949) German composer and orchestra director

Other sources

“They loved him, I think, because, with all his merits, he showed them to be rich: looking at his portraits, they understood at last how rich they really were.”

Osbert Sitwell (1892–1969) British baronet

Left Hand, Right Hand!, Bk. II, ch. 6.
Of the portrait-painter John Singer Sargent's relationship with his clients.

“My son, my son. When I had my son I would explain all that to him when he was starry enough to like understand. But then I knew he would not understand or would not want to understand at all and would do all the veshches [things] I had done…and I would not be able to really stop him. And nor would he be able to stop his own son, brothers. And so it would itty on to like the end of the world.”

Anthony Burgess (1917–1993) English writer

Fiction, A Clockwork Orange (1962)

“Jongkind.... his painting was too new and far too artistic to be appreciated in 1862 at his prices. Moreover, no one was as bad at making himself valued, as he was. He was a straight-forward and simple kind of man, who could hardly speak bad French and was very shy. But he was very outgoing that day. He asked to see my sketches, invited me to come and work with him, explained the whys and wherefores underlining his work and thereby, completed the training that I had already received from Boudin. He became from this moment my true master and it [is] to him, that I owe the definitive training of my eyes.”

Claude Monet (1840–1926) French impressionist painter

Quote from Claude Monet par lui-meme – interview by Thiébault-Sisson / translated by Louise McGlone Jacot-Descombes; published in Le Temps newspaper, 26 November 1900
about Johan Jongkind, famous pre-impressionist landscape-painter of Dutch origin, painting then in Honfleur for some years and advising Monet then.
1900 - 1920

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