“I ordered Major [transport company] tomorrow afternoon 2 o'clock to pack the paintings, I am still completely in all the paintings - as nightmares they are flying around me, now you know as of old how that is, but tomorrow afternoon at 2 o'clock I am free. I believe there are nice things among them, the drawing has become a little too fat, but there is much good in it, and it is very well-finished. I send to Peacock. The forest with wood hackers, which was hanging above the door of my studio, then the sheep [small composition-sketch of a sheep herd with shepherd] and... I believe you know them all, 7 pieces together, afterwards I have to start working for Arnold & Tripp [art-sellers in Paris], I let those guys wait and that's not right to do..”

— Anton Mauve

translation from original Dutch, Fons Heijnsbroek, 2018
(version in original Dutch / origineel citaat van Anton Mauve, uit zijn brief:) Morgen middag 2 uur heb ik Majoor [transportbedrijf] besteld om de schilderijen in te pakken ik ben nu nog geheel in alle die schilderijen als nacht merries zijn ze om me heen nu je weet wel van ouds, hoe of dat is maar morgen om 2 uur ben ik vrij. Ik geloof dat er aardige dingen bij zijn, de teekening is wel wat dik geworden, doch veel goeds er in, en erg af ik verzend aan Peacock Het bosch met hout hakkers, dat boven de deur van mijn atelier hing dan de schapen [klein compositieschetsje schaapskudde met herder] en [klein compositieschetsje schapen op bospad] en [klein compositieschetsje met schaapskudde] en [klein compositieschetsje koe?] en [klein compositieschetsje schaapskudde met vliegdennen] en de teekening (schapen uit het bosch komende) ik geloof dat je ze allen kent, 7 stuks te zamen, ik moet daarna ook voor Arnold & Tripp [kunsthandelaars in Parijs] aan de gang, die luitjes laat ik maar wachten en dat mag niet..
In a letter of Mauve from Laren, 27 June 1887 original text of the letter in RKD Archive https://rkd.nl/explore/excerpts/10, The Hague
1880's

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Anton Mauve 29

Dutch painter (1838–1888) 1838–1888

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“Do you know what I really need to make a well-finished painting? 2 years at Gérome or somebody like him, working in the studio.... because that is the only way to become a good painter. That whole business.. then a small watercolour than a little painting and finally when I have earned so much that I could study, I have become too old and too miserable.”

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

translation from the original Dutch, Fons Heijnsbroek
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Weet U wat ik nodig heb om een goed afgewerkt schilderij te maken? 2 jaar bij Gérome of zoo iemand op 't atelier te werken.. ..want dat is de enige manier om een goed schilder te worden. Dat gewurm, dan een aquarelletje dan een schilderijtje en eindelijk als ik daardoor zo veel verdiend heb dat ik zou kunnen studeeren ben ik te oud en te beroerd geworden.
In his letter to A.P. van Stolk, nr. 51, c. 1884; RKD-Archive, The Hague; as cited in master-thesis Van Gogh en Breitner in Den Haag, Helewise Berger, University of Utrecht, The Netherlands, p. 29
Breitner responds to accusations from his Maecenas that he refused to learn from well-known Dutch painters how to finish his paintings well. In 1884 already Breitner started in the studio of Cormon in Paris
before 1890

“Yesterday I received a letter from my father [ Dutch landscape-painter J. W. Bilders. ] He told me to come at once, to paint the goats in a rather large forest landscape-painting he just finished, which has to be sent away at once [to Saint Petersburg, Russia]. I earn back my travelling [from Leiden to Amsterdam, probably by travel coach] but will loose one day studying in open air. When my goats will succeed, and they are not too stubborn, I'll be back here [in Leiden] tomorrow at one o'clock in the afternoon.”

Gerard Bilders (1838–1865) painter from the Netherlands

Source: 1850's, Vrolijk Versterven' (from Bilders' diary & letters), p. 30 - quote of Bilder's letter to Johannes Kneppelhout, from Leiden, August 1859

“Last Saturday it was a rainy evening. I took advantage of that to draw once again the whole evening at Dam Square all over and Sunday I repainted my painting [of Dam square] completely, that yellow nasty color has disappeared now completely. The work has become much broader, and I believe it is really finished now. When my model came, the change struck her so strongly that she said, 'sir, the painting has become beautifully now'. I myself am very happy with it, because I believe it is really good.”

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

translation from the original Dutch, Fons Heijnsbroek
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Zaterdag avond was het een regenachtige avond. Ik heb daarvan geprofiteerd en [om] de heele avond op de Dam alles nog eens goed over te teekenen en Zondag mijn schilderij heelemaal overgeschilderd, de geele nare kleur is er heelemaal uit. Het is veel ruimer geworden, en ik geloof dat het er nu is. Toen mijn modelletje kwam, trof haar de verandering zoo erg dat het zei, hè meneer, nou is het schilderij mooi geworden. Ik zelf ben er erg mee in mijn schik, want het is geloof ik, heel goed.
quote of Breitner in a letter to his friend Herman van der Weele, Amsterdam, 14 June 1893; original letter in RKD-Archive, The Hague https://rkd.nl/explore/excerpts/54
1890 - 1900

“I have finished a fairly large painting, the goat; I sometimes spoke to you about my plan. I believe it has become a real painting, and very complete.”

Jan Mankes (1889–1920) Dutch painter

translation from original Dutch: Fons Heijnsbroek

(original Dutch: citaat van Jan Mankes, in het Nederlands:) Ik heb een vrij groot schilderij af, de geit https://commons.wikimedia.org/wiki/File:Mankes_Jonge_witte_geit.jpg; over het plan daartoe sprak ik u wel eens. Het is dunkt me volkomen een schilderij geworden, en heel compleet.

Quote of Jan Mankes (1914) in a letter to A.A.M. Pauwels in The Hague; as cited by J.R. de Groot in 'De bekoring van het gewone - Het werk van Jan Mankes' https://www.dbnl.org/tekst/_ons003199001_01/_ons003199001_01_0014.php, p. 104

[https://commons.wikimedia.org/wiki/File:Mankes_Jonge_witte_geit.jpg
1909 - 1914

“You know how fussy and particular I am in painting. I am ever removing the paint and repainting the spot until I am completely exhausted.”

Arshile Gorky (1904–1948) Armenian-American painter

Source: posthumous, Movements in art since 1945, p. 15: (in Gorky Memorial Exhibition, Schwabacher pp. 12)

“[About her vegan diet] I guess I'm a very compassionate person so hearing about animal abuse kind of triggered something in me that maybe I should try it… I'm really into health and fitness and wellness, so this kind of tied into it. I thought I was just going to do it until the (2010) Olympics, but then I didn't go to the Olympics, and then I ended up liking it so much, I think I'll be a vegan for the rest of my life. … My energy is so much better, I don't hit that wall at 2 o'clock or 3 o'clock in the afternoon, I sleep well, my skin is better, everything just feels well. And it transfers into my attitude, everything in my life has just become a lot calmer, everything I'm putting in me is clean and genuine and organic and in turn, the way I live my life has started to follow that path.”

Meagan Duhamel (1985) Canadian pair skater

" Canadian pairs champ Meagan Duhamel credits vegan diet for good health http://www.huffingtonpost.ca/2012/02/07/canadian-pairs-champ-meag_n_1261130.html" by Lori Ewing, The Canadian Press, in The Huffington Post Canada (2 July 2012)

“Dear Mrs. Castaing, please come over after midday at 2 o'clock with a white dress without sleeves in order to pose. Because today I will not go to Mrs. Saxe. I am disgusted to do nothing at all.”

Chaim Soutine (1893–1943) painter

Source: Soutine, eds. Marcelling Castaing & Jean Leymairie, Silvana Editoriale d'Arte, Milano, 1963

“This afternoon I just finished a print which I started Monday. We got a revolving door here in the post office [in the city Groningen] and that's such a nice thing to use.”

Hendrik Werkman (1882–1945) Dutch artist

version in original Dutch (origineel citaat van Hendrik Werkman, in het Nederlands): Vanmiddag heb ik nog een druksel afgemaakt dat ik Maandag al begonnen was. We hebben hier in 't postkantoor een draaideur gekregen en dat is zoo'n mooi ding om te gebruiken.
Quote of Werkman in his letter to August Henkels, 15 Oct. 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. 178
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“And the first studio I went to [in New York, c. 1950]... I was trying to find de Kooning because he had a painting at the Whitney, which was in the old Studio School [Eighth Street], you know... And I thought I would like to know him. I really dug his painting, and I dug Gorky's painting... But the first studio I went into was Franz Kline... and there were all these Klines, unstretched, hanging on the brick walls. Beautiful. You know, with the telephone book drawings all over the floor, and Kline yakking away, and it was just, I was out of my mind! And so from then on I got involved in the Artists Club. They allowed very few women in, and I was included for $35 a year. And I got very involved in the Cedar Bar and the whole thing..”

Joan Mitchell (1925–1992) American painter

second side of the first tape
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“I am very subtle; but Man is deeper in his thought than I am. The woman knows that there is no such thing as nothing: the man knows that there is no such day as tomorrow. I do well to worship them.”

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The Serpent, in Pt. I, Act I
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Anton Mauve 29

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