“Of all kind of authors there are none I despise more than compilers, who search every where for shreds of other men's works, which they join to their own, like so many pieces of green turf in a garden: they are not at all superior to compositors in a printing house, who range the types, which, collected together, make a book, towards which they contribute nothing but the labours of the hand. I would have original writers respected, and it seems to me a kind of profanation to take those pieces from the sanctuary in which they reside, and to expose them to a contempt they do not deserve. When a man hath nothing new to say, why does not he hold his tongue? What business have we with this double employment?”

No. 66.
Lettres Persanes (Persian Letters, 1721)

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Montesquieu34

French social commentator and political thinker 1689–1755

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Jean Sibelius (1865–1957) Finnish composer of the late Romantic period

Quoted by Jalmari Finne, June 28, 1905. http://www.sibelius.fi/english/omin_sanoin/ominsanoin_16.htm

“This little Collection differs, it is believed, from others in the attempt made to include in it all the best original lyrical pieces and songs in our language, by writers not living, and none besides the best. The Editor will regard as his fittest readers those who love poetry so well, that he can offer them nothing not already known and valued.”

Francis Turner Palgrave (1824–1897) English poet and critic

Golden Treasury of English Songs and Lyrics (1861) Preface.

“I make a point of writing, if only a little, every day, as a kind of discipline so that it is not a whim but a piece of work.”

P. L. Travers (1899–1996) Australian-British novelist, actress and journalist

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“There are, first of all, two kinds of authors: those who write for the subject’s sake, and those who write for writing’s sake. The first kind have had thoughts or experiences which seem to them worth communicating, while the second kind need money and consequently write for money.”

Arthur Schopenhauer (1788–1860) German philosopher

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“I should wish, however, to know what this reason is, through which we are more excellent than all the tribes of animals. Is it because we have made for ourselves houses, by which we can avoid the cold of winter and heat of summer? What! do not the other animals show forethought in this respect? … But if nature, which gave them life, had chosen to give to them also hands to help them, they too would, without doubt, raise lofty buildings and strike out new works of art. Yet, even in those things which they make with beaks and claws, we see that there are many appearances of reason and wisdom which we men are unable to copy, however much we ponder them, although we have hands to serve us dexterously in every kind of work.”

Arnobius (255–327) Christian apologist

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“In fact, all kinds of men, and not merely architects, can recognize a good piece of work…”

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Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book VI, Chapter VIII, Sec. 10

“Maybe it was senseless to want to be near a person so badly here in a country where bullets had shredded her own brothers to pieces. But all Laila had to do was picture Tariq going at Khadim with his leg and then nothing in the world seemed more sensible to her.”

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“Every true thinker for himself is so far like a monarch; he is absolute, and recognises nobody above him. His judgments, like the decrees of a monarch, spring from his own sovereign power and proceed directly from himself. He takes as little notice of authority as a monarch does of a command; nothing is valid unless he has himself authorised it. On the other hand, those of vulgar minds, who are swayed by all kinds of current opinions, authorities, and prejudices, are like the people which in silence obey the law and commands.”

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“I also found so-called great art too pompous, too stiff. What at this time was called minor art was freer, more imaginative, more open to all kinds of unorthodox expression, all kinds of daring in the handling of materials, and I preferred to surround myself with this type of art than with the great collectors' pieces.”

Jacques Lipchitz (1891–1973) American and French sculptor

Jacques Lipchitz in: The Lipchitz (Jacques, Yulla & Lolya) Collection. University Publishers, 1960. p. 4

“The subject reports itself, it is never looked for. Afterwards a small drawing will follow for the color-planes which are determined immediately. These colors will be printed by large logs and updated and enlivened with the hand-roller. For pressing I use an old hand-press with lever (from c. 1800)... Sometimes it is necessary to press heavily, other times only very light. Sometimes one half of the block is rolled in [with ink] bold, the other half only skimpy. By first printing sometimes the first layer of paint on a piece of paper, a gentle tint appears which is then printed on the original. Another time I print the first print of the paper back on the original... As soon as the color-planes have been applied, the first state is reached, so to say..
.. Of course all kinds of side-steps can be made, while working. In case of enlivening the picture - both in terms of color or decoration - the main goal I always keep in mind.”

Hendrik Werkman (1882–1945) Dutch artist

version in original Dutch (origineel citaat van Hendrik Werkman, in het Nederlands): Het onderwerp meldt zichzelf en wordt nooit gezocht, daarna volgt een kleine tekening voor de kleurvlakken die meteen vaststaan. Deze kleuren worden met groote houtblokken gedrukt en met de handrol bijgewerkt en verlevendigt. Als pers gebruik ik een oude handpers met hefboom (c. 1800).. .Soms is het noodig zwaar te drukken, soms heel licht; soms wordt de ene helft van het blok vet ingerold [met inkt], de andere helft schraal, ook wordt door eerst op een stuk papier de eerste laag verf af te drukken een lichte tint gekregen die dan op het origineel afgedrukt wordt, een andere keer druk ik de eerste druk van het papier weer op het origineel af.. Zijn de kleurvlakken aangebracht, dan is als het ware de eerste staat bereikt..
.Het spreekt vanzelf dat onder het werk verschillende zijsprongetjes gemaakt kunnen worden. Ter verlevendiging, zowel wat kleur als wat versiering aangaat: het hoofddoel staat steeds voor oogen.
Quote from Werkman's letter (6.) to August Henkels, 24 Jan. 1941; as cited in H. N. Werkman - Leven & Werk - 1882-1945, ed. A. de Vries, J. van der Spek, D. Sijens, M. Jansen; WBooks, Groninger Museum / Stichting Werkman, 2015 (transl: Fons Heijnsbroek), p. 134
1940's

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