“I started selling my portraits. Sizing up my customer, I charged ten or twenty francs a caricature, and it worked like a charm. Within a month my clientele had doubled. Had I gone on like that I'd be a millionaire today. Soon I was looked up to in the town, I was 'somebody'. In the shop-window of the one and only frame-maker who could make out a livelihood in Le Havre, my caricatures were impudently displayed, five or six abreast, in beaded frames or behind glass like very fine works of art, and when I saw troops of bystanders gazing at them in admiration, pointing at them and crying 'Why, that's so-and-so!', I was just bursting with pride.”

— Claude Monet

after Monet's death
Source: Denis Rouart (1972) Claude Monet, p. 22 : About the first steps in his career

Adopted from Wikiquote. Last update March 9, 2024. History

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Claude Monet 87

French impressionist painter 1840–1926

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“So one crazy analogy to how my morality might turn out to work, and the big point here is I don't know how my morality works, is we have a painting and the painting is very beautiful. There is some crap on the painting. Would I like the crap cleaned up? Yes, very much. That's like the suffering that's in the world today. Then there is making more of the painting, that's just a strange function. My utility with the size of the painting, it's just like a strange and complicated function. It may go up in any kind of reasonable term that I can actually foresee, but flatten out, at some point.”

Holden Karnofsky (1981) American nonprofit executive

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Context: So one crazy analogy to how my morality might turn out to work, and the big point here is I don't know how my morality works, is we have a painting and the painting is very beautiful. There is some crap on the painting. Would I like the crap cleaned up? Yes, very much. That's like the suffering that's in the world today. Then there is making more of the painting, that's just a strange function. My utility with the size of the painting, it's just like a strange and complicated function. It may go up in any kind of reasonable term that I can actually foresee, but flatten out, at some point. So to see the world as like a painting and my utility of it is that, I think that is somewhat of an analogy to how my morality may work, that it's not like there is this linear multiplier and the multiplier is one thing or another thing. It's: starting to talk about billions of future generations is just like going so far outside of where my morality has ever been stress-tested. I don't how it would respond. I actually suspect that it would flatten out the same way as with the painting.

“Now my work is my drug of choice…I like to take whatever work opportunities I can. I like to work with as many people as I can. I like to show up on time, and I like to have a good time.”

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“I couldn't think. I couldn't remember. I was wound up like a spring and ready to bust. All I could see was the dead guy in the middle of the room and my gun. My gun! Somebody grabbed at my arm and hauled me upright and the questions started again. That was as much as I could take. I gave a hell of a kick and a fat face in a fedora pulled back out of focus and started to groan, all doubled up. Maybe I laughed, I don't know.”

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“Roger: I was super, crazy little! Yeah, like my dad's a guitar player and my uncle was in bands when I was growing up. I sat behind a drum set when I was like six years old. I started taking piano lessons when I was like nine. So, like I've been around music my whole, entire, entire life.”

Roger Manganelli (1973) American musician

“.. when I had my imaginary friend I would look out of the small glass panes of the window and fill them with steam. Then, I would draw a little window and go out through it. Opposite our house, there was a milk store that was named Pinzon, and I would travel from the little window through the "o" in Pinzon, and from there into the center of the earth, where I had my friend, and we would dance and play... I do not remember my friend's house, and she had no name. She was like me in age. She had no face. The truth is, I do not remember if she had a face or not, and she was very lively. I could not describe her.”

Frida Kahlo (1907–1954) Mexican painter

9 September 1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My life', pp. 66-67

“Instead of making a picture that was an interpretation of a thing seen, or a picture of invented content, I found an object and 'presented' it as itself alone. My first object was 'Window' [Museum of Modern Art, Paris], done in 1949. After constructed 'Window' with two canvases and a wood frame I realized that from then on painting as I had known it was finished for me. The new works were to be objects, unsigned, anonymous.”

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

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, pp. 9-10 : 'Notes from 1969'

“I owe my success to the fact that I never had a clock in my workroom. Seventy-five of us worked twenty hours every day and slept only four hours — and thrived on it.”

Thomas Edison (1847–1931) American inventor and businessman

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Date unknown

“Well, maybe it was just that I wasn't going to like anybody because I had to work and I had to explain to my teachers why I wasn't keeping up. I'd fall asleep and things in class and they'd lecture me about the reality of their classroom. I said, 'You want to see my reality?' I opened up my backpack to where you usually keep your pencils. That's where I kept my bills… electric bills, rent… That was my reality.”

Eddie Vedder (1964) musician, songwriter, member of Pearl Jam

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“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

“So the years passed and I worked a great deal. And then I became ill and although I could still work, despite the fact that my hands became more and more rigid. I could no longer pick up the paintbrush and had to use both hands to do so, always with a great deal of pain. The format of my works became very small, and I also had to find a new technique. For three years I painted these small heads like a man possessed. Then I realized that I would soon have to stop working entirely: and that's what happened, too!”

Alexej von Jawlensky (1864–1941) Russian painter

In a letter to the Dutch Fauvist painter Father Verkade, 12 June 1938; as quoted in Alexej Jawlensky, Jürgen Schultze; M. DuMont Schauberg, Cologne 1970, p. 54
1936 - 1941

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Claude Monet 87

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