“I have focused on your desire to bring in more effect [in the watercolor].... with more light in the drawing, [what] was not the least difficult.... [this operation] has passed tricky moments; but I believe I have remained master of the area and have made a drawing [watercolor] of aspect [? ] and color.”

— Willem Roelofs

translation from original Dutch: Fons Heijnsbroek
(original Dutch: citaat van Willem Roelofs, in het Nederlands:) Ik heb mij op uw verlangen toegelegd er meer effect in te brengen.. ..met méér licht in een teekening [= aquarel] te brengen, [wat] niet van de minst moeijelijke was.. ..[deze bewerking] heeft kwade oogenblikken doorstaan; maar ik geloof meester gebleven te zijn van het terrein en er eene Teekening [aquarel] van aspect [?] en kleur gemaakt te hebben.
In a letter to Pieter verLoren van Themaat, 17 Feb. 1864; in Haagsch Gemeentearchief / Municipal Archive of The Hague
Mr. verLoren van Themaat had asked for some changes in an already purchased watercolor, made by Roelofs: a landscape with duck decoys, near the village Meerkerk
1860's

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Willem Roelofs 32

Dutch painter and entomologist (1822-1897) 1822–1897

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“Bosboom seemed to have enjoyed my drawing [= watercolor] - He gave me a small visual comment - which I accepted with thanks and will follow. (translation from original Dutch: Fons Heijnsbroek)”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

(original Dutch: citaat van Willem Roelofs, in het Nederlands:) scheen in mijn teekening [= aquarel] plaisir te hebben – Hij maakte mij nog een kleine observatie - die ik in dank heb aangenomen en volgen zal.
In a letter to Pieter verLoren van Themaat, 4 Oct, 1868; in Haagsch Gemeentearchief / Municipal Archive of The Hague
1860's

“After working with oil, pastel, and watercolors, I have intentionally returned to working with graphite. It is the most challenging mode of expression to master”

Wahbi Al-Hariri (1914–1994) Artist, architect, author

Wahbi al-Hariri-Rifai (1992), The Spiritual Edifices of Islam: Drawings by Wahbi Al-Hariri-Rifai http://books.google.com/books/about/The_Spiritual_Edifices_of_Islam.html?id=J9sJtwAACAAJ - National Museum (Saudi Arabia) Exhibit Booklet - 2002, Washington, D.C.: GDG Exhibits Trust & National Museum (Saudi Arabia), OCLC:56990773, retrieved on 25 June 2013. Quoted from inside cover.

“I also sold some drawings [he means his watercolors] - the Dutch pieces [he painted in The Netherlands] sell rather well [in Brussels, where he lived then]. People seem to prefer colored drawings here. (translation from original Dutch: Fons Heijnsbroek)”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

(original Dutch: citaat van Willem Roelofs, in het Nederlands:) Ik heb alweder ook eenige teekeningen [hij bedoelt hiermee zijn aquarellen] verkocht – de Hollandsche gevallen vinden nogal aftrek [in Brussel, waar hij toen woonde]. Men schijnt hier gekleurde teekeningen te prefereren.
In a letter to Jan Weissenbruch, 18 Dec. 1847; in Haagsch Gemeentearchief / Municipal Archive of The Hague; ; as cited by De Bodt, in Halverwege Parijs, Willem Roelofs en de Nederlandse Schilderskolonie in Brussel, Gent, 1995a, in 1995a, pp. 233-35
1840' + 1850's

“I very much enjoyed working on the drawing, so much so that I made a whole series of small watercolors that I can use at any time for application on embroidered purses, pillows, rugs and wall hangings.”

Sophie Taeuber-Arp (1889–1943) Swiss artist

Quote in a letter to her sister Erika Schlegel, 22 February, 1922; from: Today is Tomorrow, Sophie Taeuber-Arp, ed. Thomas Schmutz; Aargauer Kunsthaus, and Zurich: Scheidegger & Spiess, 2014, p. 221
Taeuber describes creating a series of watercolors that she intends to rework across carpets, bags, pillows, and wall covers

“I will soon have finished another drawing [= watercolor], in the spirit as Den Tessaro [art-seller in Antwerp] wished another one, that is 'airy' and 'thin', with 'lots of space', etc.-. (translation from original Dutch: Fons Heijnsbroek)”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

(original Dutch: citaat van Willem Roelofs, in het Nederlands:) Ik zal binnenkort eene andere teekening [= aquarel] gereed hebben, in den geest zoals Den Heer Tessaro [kunst-handelaar in Antwerpen] er nog een wenschte, namenlijk 'luchtig' en 'dun', met 'veel ruimte', etc.-.
In a letter to art-seller Frans Buffa in Amsterdam, 1874; ; as cited in Willem Roelofs 1822-1897 De Adem der natuur, ed. Marjan van Heteren & Robert-Jan te Rijdt; Thoth, Bussum - ISBN13 * 978 90 6868 4322, 2006, p. 57
1870's

“The drawings [his watercolors] usually succeed in one day or at most two days or they develop difficult and usually don't finish well, then…. [I hope] the end will be as good as the beginning. (translation from original Dutch: Fons Heijnsbroek)”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

(original Dutch: citaat van Willem Roelofs, in het Nederlands:) De teekeningen [Roelofs bedoelt zijn aquarellen] lukken mij doorgaans in een dag of hoogstens twee dagen of zij gaan moeijelijk en worden dan meestal niet goed.. ..[ik hoop dat] het eind zoo goed zal zijn als het begin.
In a letter to P. verLoren van Themaat, 30 March, 1867; in Haagsch Gemeentearchief / Municipal Archive of The Hague
1860's

“.. When I have made some drawings I see them immediately in front of my eyes, enlarged [and] in colors..”

Hendrik Werkman (1882–1945) Dutch artist

version in original Dutch (origineel citaat van Hendrik Werkman, in het Nederlands): ..Als ik eenige teekeningen gemaakt heb zie ik ze ook direct in kleuren [en] vergroot voor me..
In a letter (nr. 356) to Bastiaan Kist, 9 Sept. 1943; 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. 176
1940's

“I mixed [early 1950's] funny shades of colors and used them but I used them because they made the drawing in my picture move. It wasn't because I was in love with the idea of putting color down. But these colors were the expedient things to use for the way I drew and I say 'draw' not meaning line, though it might have included line. But the way I drew or envisioned or made my work. And it happened that it came out stressing color. But I did not have a vision or a notion about color per se being the thing that would make me or my pictures work or operate.”

Helen Frankenthaler (1928–2011) American artist

quote about shades and drawing
1960s, Interview with Barbara Rose', Archives - American Art, 1968

“Just six kilometers – never my world was bigger than that, actually. That starting time [of his painting & drawing, c. 1946], to which I return now; watercolor; I prefer a bit foggy, a small world - and not the cows themselves, but only their traces in the mist. The tenderness... I am currently [1993] deeply immersed in little trees and in the reeds. You have to experience it as mysticism, as a miracle. And afterwards: passing it on..”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Maar een straal van zes kilometer, groter is mijn wereld eigenlijk nooit geweest. Die begintijd [c. 1946], waar ik nu [1993] weer naar terugkeer; waterverf; het liefst een beetje mistig, een klein wereldje, en dan niet de koeien zelf, maar hun sporen in die damp. De tederheid.. .Ik verdiep me op het moment erg in boompjes, en in het riet. Dat moet je als mystiek, als een wonder ondergaan. En vervolgens doorgeven.
Mens & Gevoelens: Jopie Huisman', 1993

“They [his own fantasies he made in strange pencil drawings then] hover before me now in drifting color, more beautiful than I can possibly paint them.... I yearn for the day when I will have found my color harmonies, my harmonies.”

Emil Nolde (1867–1956) German artist

Quote of Nolde's letter, 1902, to Hans Fehr; as cited in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 35
During the next few years, Nolde virtually commuted between Copenhagen and Berlin; in the fishing village of Lildstand on Jutland's northern coast, he produced strange pencil drawings, as he wrote to Fehr
1900 - 1920

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Willem Roelofs 32

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