“When I was…. in the surroundings of pictures and things of art… I then had a violent passion for them… And I do not repent it, for even now, far from that land, I am often homesick for the land of pictures. Now for more than five years already, I do not know exactly how long, I'm more or less without employment, wandering here and there… But you will ask what is your definite aim? That aim becomes more definite, will stand out slowly and surely, as the rough draft becomes a sketch and the sketch becomes a picture…. my only anxiety is: how can I be of use in the world, cannot I serve some purpose and be of any good, how can I learn more and study profoundly certain subjects?”

— Vincent Van Gogh

In his letter to brother Theo, from Cuesmes, Belgium July 1880; 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, (letter 133) p. 19
1880s, 1880

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Vincent Van Gogh 238

Dutch post-Impressionist painter (1853-1890) 1853–1890

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“When I was.... in the surroundings of pictures and things of art... I then had a violent passion for them... And I do not repent it, for even now, far from that land, I am often homesick for the land of pictures.”

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

Now for more than five years already, I do not know exactly how long, I'm more or less without employment, wandering here and there.. .But you will ask what is your definite aim? That aim becomes more definite, will stand out slowly and surely, as the rough draft becomes a sketch and the sketch becomes a picture.. .. my only anxiety is: how can I be of use in the world, cannot I serve some purpose and be of any good, how can I learn more and study profoundly certain subjects?

In his letter to brother Theo, from Cuesmes, Belgium July 1880; 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, (letter 133) p. 19
1880s, 1880

“I must continue to follow the path I take now. If I do nothing, if I study nothing, if I cease searching, then, woe is me, I am lost. That is how I look at it — keep going, keep going come what may.
But what is your final goal, you may ask. That goal will become clearer, will emerge slowly but surely, much as the rough draught turns into a sketch, and the sketch into a painting through the serious work done on it, through the elaboration of the original vague idea and through the consolidation of the first fleeting and passing thought.”

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

1880s, 1880, Letter to Theo (Cuesmes, July 1880)

“Now for the past five years or so, I don't know how long exactly, I have been more or less without permanent employment, wandering from pillar to post. You will say, ever since such and such a time you have been going downhill, you have been feeble, you have done nothing. Is that entirely true?”

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

1880s, 1880, Letter to Theo (Cuesmes, July 1880)

“When I sit down to make a sketch from nature, the first thing I try to do is to forget that I have ever seen a picture.”

John Constable (1776–1837) English Romantic painter

As quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 40
1800s - 1810s

“Everybody wants to know about it. Even now. But look at what else I have accomplished since then which must have taken courage. Far more than what it took to streak. But because it's more immediate you think you could even do this. But you can't build a dance institute out of barren land.”

Protima Bedi (1948–1998) Indian model and dancer

On her steaking and the Nritygarma, the dance institute she established in Bangalore quoted in I have been a hippie all my life, 22 August 1998, 14 january 2014, Rediff.com http://www.rediff.com/news/1998/aug/22bedi.htm,

“When I was young, art for me was a new religion. Now I see the aims and ends of art as less grand. If I can catch the play of light on a wall, and catch it just so, that is enough for me. I don’t want to write about human behavior. Art now seems to me in many ways the absolute opposite of psychology. It’s simply saying, This is how it is. This is how it looks, how it feels. To describe things well is far more worthwhile than the kind of cheap psychologizing, or even expensive psychologizing, that the novel so often indulges in.”

John Banville (1945) Irish writer

John Banville, The Art of Fiction No. 200 (2009)

“I worked hard the whole day, so that I am very tired now. Yesterday I made the sketch of the castle [in Vorden] on the canvas and today I painted the sky, the whole day long. I made the composition even more simple by leaving out the creel; the air is painted in the spirit of the [ Swartzwald [? ], but much more stronger and sadder. I hope to show the people how beautiful, how profoundly poetical the castle [is].... please save this thumbnail-sketch [drawn in the letter, on the same paper] and also my previous letter. Who knows the descendants - when reading them, and looking at the sketch - will say: Look, it was in this way how Bilder's very lovely painting was discussed at the House 't Velde, and how it came into life in Vorden. Good-by, my dear Lady..”

Johannes Warnardus Bilders (1811–1890) painter from the Northern Netherlands

translation from Dutch, Fons Heijnsbroek
version in original Dutch (citaat van Johannes Warnardus Bilders' brief, in het Nederlands:) Ik heb den gehelen dag hart gewerkt. Zoo dat ik erg moede ben. gisteren had ik de schets van t kasteel [in Vorden] op t' doek gebracht en vandaag heb ik de gehelen dag aan de lucht geschildert , ik heb de compositie nog eenvoudiger gemaakt door de vischkaar weg te laten; de lucht is in de geest van t [Swartzwald[?], maar nog veel sterker en droeviger, ik hoop de menschen te laten zien, hoe schoon, hoe diep poetisch, het kasteel bi.. ..bewaar de krabbel èn ook mijn voorgaande brief, wie weet als het nageslacht, die dan leest, en de krabbel ziet of ze dan niet zeggen, zie op deze wijze kwam dit schoonste schilderij van Bilders in t leven, t werd op ’t Velde besproken, en te Vorden in 't leven geroepen, dag zeer geliefde juffrouw..
J.W. Bilders, in his letter [including a sketch by pen of the landscape with the castle, seen from the garden of the hotel where he stayed] to Georgina van Dijk van 't Velde, from Vorden, 1 Sept. 1868; from an excerpt of the letter https://rkd.nl/nl/explore/excerpts/751236 in the RKD-Archive, The Hague
1860's + 1870's

“I didn’t grow up in a man’s man world. I grew up with my mum and my sister. But I definitely think in the last two years, I’ve become a lot more content with who I am. I think there’s so much masculinity in being vulnerable and allowing yourself to be feminine, and I’m very comfortable with that. Growing up you don’t even know what those things mean. You have this idea of what being masculine is and as you grow up and experience more of the world, you become more comfortable with who you are. Today it’s easier to embrace masculinity in so many different things. I definitely find – through music, writing, talking with friends and being open – that some of the times when I feel most confident is when I’m allowing myself to be vulnerable. It’s something that I definitely try and do.”

Harry Styles (1994) English singer, songwriter, and actor

In conversation with Timothée Chalamet for i-D Magazine (2 November 2018) https://i-d.vice.com/en_uk/article/evwwma/harry-styles-interviews-timothee-chalamet-photos

“[Theophile] Gautier's article is very good. I begin to feel a little more contented. His remarks about my thick colours are also very just. The critics who see and judge my pictures are not forced to know that in painting them I am not guided by a definite intention, although I do my utmost to try and attain the aim which I have in sight, independently of methods. People are not even obliged to know why it is that I work in this way, with all its faults.”

Jean-François Millet (1814–1875) French painter

Quote of Millet in his letter of 23 March 1851; as quoted by Julia Cartwright in Jean Francois Millet, his Life and Letters, Swan Sonnenschein en Co, Lim. London / The Macmillian Company, New York; second edition, September 1902, p. 112
the most famous painting of Millet 'The Sower', reviewed in an article then by Gautier, was exhibited for the first time in 'The Salon' of Paris, at the End of 1850
1851 - 1870

“I definitely learned a lesson this time. I know that I can be broken. I am not as tough as I thought. I see it now. At this point, it's the only thing good that came out of all of this. I know myself better now and know what I have to do.”

Henry Rollins (1961) American singer-songwriter

Source: The Portable Henry Rollins

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