“To show this later progress in my own work I refer to my [paintings] 'Organ-playing monk', in 1850, my 'Lord's Supper in the Geestes-kerk (church) in Utrecht' in 1852, and my 'Bakenesse-kerk (church) in Haarlem', painted a dozen years later. All three can be found in the museum Fodor and can thus be compared to each other. The preference will undoubtedly be given to the latter, which for its strength and unity is counted among the masterpieces of this [Fodor] collection.”

— Johannes Bosboom

version in original Dutch (citaat van Johannes Bosboom, in Nederlands): Om dien lateren vooruitgang in mijn eigen werk te toonen, verwijs ik naar mijn [werken] 'Orgelspelende monnik' in 1850, mijn 'Avondmaalsviering in de Geesteskerk te Utrecht' in 1852 en mijn 'Bakenessekerk te Haarlem', een tiental jaren later geschilderd - alle drie in het museum Fodor te vinden en dus onderling te vergelijken. De voorkeur zal ongetwijfeld aan het laatste worden toegekend, dat om zijn kracht en éénheid tot de meesterstukjes dezer verzameling gerekend wordt. <br class="br">Quote of Bosboom, in his autobiography, c. 1890; as cited in De Hollandsche Schilderkunst in de Negentiende Eeuw, G. H. Marius; https://ia800204.us.archive.org/31/items/dehollandschesch00mariuoft/dehollandschesch00mariuoft.pdf Martinus Nijhoff, s-’Gravenhage / The Hague, tweede druk, 1920, pp. 108-09 (translation from the original Dutch: Fons Heijnsbroek) <br class="br">1890's

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "To show this later progress in my own work I refer to my [paintings] 'Organ-playing monk', in 1850, my 'Lord's Supper i…" by Johannes Bosboom?

Johannes Bosboom9

Dutch painter 1817–1891

Related quotes

“In 1949, I ceased figurative painting and began works that were object oriented. The drawings from plant life seem to be a bridge to the way of seeing that brought about the paintings in 1949 that are the basis for all my later work. After arriving in Paris in 1948, I realized that figurative painting and also abstract painting (though my knowledge of the latter was very limited) as I had known in the 20th century no longer interested me as a solution to my own problems. I wanted to give up easel painting which I felt was too personal.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. 9 : 'Notes from 1969'

“I was interested in achieving a creative freedom, a style that I could express with Seurat's.... color technique [color-divisionism], but shaped to my own needs. Proof that I found it is in my paintings of that period, among which is the famous 'Pan-Pan a Monico' [Severini painted in 1912]. My preference for Neo-Impressionism dates from those works. At times I tried to suppress it, but it always worked its way back to the surface.”

Gino Severini (1883–1966) Italian painter

Source: The Life of a Painter - autobiography', 1946, p. 53; as quoted in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003.

“The same year [1835] I made my debut at the Exposition in Rotterdam with [his painting] "the St. Janskerk in ’s Hertogenbosch, the interior", which immediately found a merchant... The approval by this, [and] the renewed appreciation I got in Felix 38, now concerning a 'church with incident sunlight', together with my personal characteristic tendency to reproduce the impressions which church buildings gave me, led me gradually to choose and prefer this genre [church-interiors], [and to visit] Belgium in '37 and repeatedly to return there, attracted by the abundance of study [many churches], that this country offered me..”

Johannes Bosboom (1817–1891) Dutch painter

citaat van Johannes Bosboom, in orogineel Nederlands: In hetzelfde jaar [1835] had ik op de Expositie te Rotterdam gedebuteerd met 'de St. Janskerk te 's Hertogenbosch van binnen', die terstond een kooper vond.. .De bijval hiermee behaald, [en] de hernieuwde bekrooning in Felix 38) nu voor eene 'kerk met inVallend zonlicht', gevoegd bij mijn bijzondere neiging om de indrukken weer te geven, die kerkgebouwen op mij maakten, leidde er mij gaandeweg toe dit genre [schilderijen van kerk-interieurs] bij voorkeur te kiezen; [en om] in '37 in Belgie te gaan bezoeken en herhaaldelijk daar weer te keeren, aangetrokken door den overvloed van studie [veel kerken], dien dat land mij aanbood..
Source: 1880's, Een en ander betrekkelijk mijn loopbaan als schilder, p. 11

“As far as I can remember, it was before my twelfth year that I was sketching cows in the mornings before and afternoons after school, and because my brothers were 4 and 6 years older than me – naturally I got from them my first teachings in drawing and later in painting.”

Willem Maris (1844–1910) Dutch landscape painter of the Hague School (1844-1910)

translation from original Dutch, Fons Heijnsbroek, 2018 <br class="br">version in original Dutch / origineel citaat van Willem Maris: Voor zover ik mij herinneren kan, was ik voor mijn twaalfde jaar 's Morgens voor, en 's middags na schooltijd al in de weilanden aan 't teekenen van koeien en daar mijn broers 4 en 6 jaar ouder waren als ik - genoot ik natuurlijk van hen het eerste onderwijs in het teekenen en later in het schilderen. <br class="br">Quote of Willem Maris, in his letter in 1901; as cited in 'Zó Hollands - Het Hollandse landschap in de Nederlandse kunst sinds 1850', Antoon Erftemeijer https://www.franshalsmuseum.nl/wp-content/uploads/2017/12/zohollands_eindversie_def_1.pdf; Frans Hals museum | De Hallen, Haarlem 2011, p. 36

“I do not believe in the creed professed by the Jewish church, by the Roman church, by the Greek church, by the Turkish church, by the Protestant church, nor by any church that I know of. My own mind is my own church.”

Thomas Paine book The Age of Reason

Source: 1790s, The Age of Reason, Part I (1794)

“I see less and less... I need to avoid lateral light, which darkens my colors. Nevertheless, I always paint at the times of day most propitious for me, as long as my paint tubes and brushes are not mixed up.... I will paint almost blind, as Beethoven composed completely deaf.”

Claude Monet (1840–1926) French impressionist painter

Quote, Jan. 1921, to journalist Marcel Pays. Monet in the 20th Century, by Paul Hayes Tucker.
1920 - 1926

“I want a church I can stay in for years. I don't want surprises, scandals, or secrets from my church leaders.”

Ted Haggard (1956) American minister

[Haggard, Ted, Dog Training, Fly Fishing, And Sharing Christ In The 21st Century: Empowering Your Church To Build Community Through Shared Interests, Nelson Books, May 14, 2002, p. 9, ISBN 0785265147]

“In 1939 I wrote my first article ('Intime banaliteter' [Intimate banalities] in the journal Helhesten) in which I expressed my love for sofa painting, and for the last twenty years I have been preoccupied with the idea of rendering homage to it. Thus I act with full responsibility and after extensive reflection. Only my current situation has enabled me to accomplish the expensive task of demonstrating that the preferred sustenance of painting is painting.”

Asger Jorn (1914–1973) Danish artist

Quote of Jorn, in On the Passage of a few people through a rather brief moment in time: the Situationist International, 1957-1972 (1989), edited by Elisabeth Sussman, p. 142
1959 - 1973, Various sources

“Thus while I journey on, my Lord to meet,
My thoughts and meditations are so sweet,
Of Him on whom I lean, my strength, my stay,
I can forget the sorrows of the way.”

Horatius Bonar (1808–1889) British minister and poet

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 434.

“It was very tiny, our house [ St. Prex ], and I had no room for my own, only a window, which I could call mine. But I was so gloomy and unhappy in my soul after all those dreadful experiences, that I was quite content to sit at the window and quietly collect my thoughts and feelings. I had a bit of paint but no easel, so I went into Lausanne – twenty minutes on the train – and bought a small easel from a photographer... It was highly unsuitable for painting but for more than twenty years I have painted my best work on that little easel”

Alexej von Jawlensky (1864–1941) Russian painter

in mainly small sizes
from: 'Lebenserinnerungen', 1938
This small house was in St. Prex, in Switzerland, lake Genova, where Jawlensky concentrated himself on the view around his house in the years after 1914.. ..he painted here more than 400 'Variations on a landscape theme', in St. Prex
Source: 1936 - 1941, Life Memories' (1938), p. 186

Help us to complete the source, original and additional information

Johannes Bosboom9

Related quotes

Related topics