“Boughton together with Abbey are making for Harper in New York drawings called "Picturesque Holland".... now I say to myself if the Graphic and Harper send their draughtsmen to Holland they would perhaps not be unwilling to accept a draughtsman from Holland [Vincent himself], if he can furnish some good work for not too much money. I should prefer to be accepted on regular monthly wages rather than to sell a drawing now and then at a relatively high price.”

— Vincent Van Gogh

Quote in his letter to brother Theo, from The Hague, The Netherlands, Summer 1883; 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 288) p. 21
1880s, 1883

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Vincent Van Gogh 238

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

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“Here [in the Netherlands] there is absolutely nothing, nowhere and permanently committees to deliver the visual artists some money, since all are hungry. It is such a difficult time for Holland. I had flu, I was very sick and I am still too weak to work.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from Dutch, Fons Heijnsbroek, 2018
version in Dutch / citaat van Jacoba van Heemskerck, in het Nederlands vertaald: Hier [in Nederland] is absoluut niets, nergens geld en voortdurend comités om de beeldende kunstenaars geld te bezorgen, aangezien allen honger lijden. Voor Holland zijn het zo moeilijke tijden. Ik had griep, was erg ziek en ben nog te zwak om te werken.
In her letter to Herwarth Walden, 17 Feb. 1922; as cited in Jacoba van Heemskerck van Beest, 1876 – 1923: schilderes uit roeping, A. H. Huussen jr. (ed. Marleen Blokhuis), (ISBN: 90-400-9064-5); Waanders, Zwolle, 2005, p. 183
Jacoba is often ill these last years and rather vulnerable, but nevertheless busy with her designs of ordered glass-windows.
1920's

“Of course I should be very happy to sell a drawing but I am happier still when a real artist like Weissenbruch says about an unsalable??? study or drawing: "That is true to nature, I could work from that myself."”

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

quote in his letter to brother Theo, from The Hague, The Netherlands in Febr. 1882; 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, p. 20 (letter 177)
1880s, 1882

“Duplicity in events: What happens here as new, happens somewhere else just the same way. That's so exciting. That is one of the secrets of life. Why did I sometimes build a lamp in the Bauhaus and somebody comes from Holland and says, 'Oh, somebody in Holland makes just the same lamp.' Such duplicity shows that the time is ripe for a problem and thus it is in the air, and will be solved here – and there. With this we are finding the 'creative process', for which somebody is coming to ask me about. I would say, 'I paint because I have no time not to paint.”

Josef Albers (1888–1976) German-American artist and educator

That's my creative process.
Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

“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

“Some years ago, it was customary for fast-talking confidence men to find some chump with five or ten thousand dollars in cash and sell him the Brooklyn Bridge or the Holland Tunnel. And I hear that when the Pennsylvania Railroad began to demolish its station in New York City, someone bought it for $25,000 cash. Now the swindlers in all those cases are undoubtedly wicked men. They deserve exemplary punishment. But, you know, there must have been something wrong with the purchasers too. Much as we may sympathize with them, we shall have to agree, I think, that they were not overly bright.”

Revilo P. Oliver (1908–1994) American philologist

"What We Owe Our Parasites", speech (June 1968); Free Speech magazine (October and November 1995)
1960s

“New Year’s Day: Now is the accepted time to make your regular annual good resolutions. Next week you can begin paving hell with them as usual.”

Mark Twain (1835–1910) American author and humorist

“Dear Sir Verloren. Today I send you a drawing for your art-reviews. I would liked to have done more for you, but I have many demands for drawings from all sides and I am still very busy with paintings after my studies I made during the last trip. I hope that the drawing will be acceptable. The price is 150 guilders. I am not sure you need a title, call it just simply, 'Bij een Drentsch dorp' (At a village in Drenthe).”

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

translation from original Dutch: Fons Heijnsbroek
(original Dutch: citaat van Willem Roelofs, in het Nederlands:) Waarde Heer Verloren. Heden zend ik U eene teekening voor Uwe kunstbeschouwingen. Gaarne had ik méér gedaan, maar heb aan alle kanten vraag naar teekeningen en zit daarenboven nog tot over de ooren in schilderijen naar studies der laatste reis. Ik hoop dat men de teekening redelijk goed zal vinden.- De prijs is 150 guldens.- Ik weet niet of gij een titel behoeft, noem het dan maar eenvoudig, 'Bij een Drenthsch dorp'.
Quote from a letter of W. Roelofs 2 Oct. 1861, to art-collector/dealer P. verloren van Themaat in Utrecht, taken from: an extract in the Dutch Archive R.K.D., The Hague https://rkd.nl/explore/excerpts/281
1860's

“He recognized and accepted this strange new feeling: that he would rather be hurt himself than hurt Alec.”

Cassandra Clare (1973) American author

Source: The Course of True Love [and First Dates]

“He [Renoir] is a subtle and brilliant draughtsman.... all these preliminary drawings [in Renoir's studio] would astonish the public who obviously imagine the 'Impressionists' work at tremendous speed. I don't believe one can go further [in making sketches as studies] than this in the study of form in a drawing. I am charmed by his 'Nude Bathers' quite as much as those by Ingres. He [Renoir] tells me that he thinks the nude is absolutely indispensable as an art form.”

Berthe Morisot (1841–1895) painter from France

note in Berthe's Journal, c. 11 Jan. 1886, after visiting Renoir in his studio; in 'Carnet Beige', Morisot Enchantment, Huisman; as cited in Berthe Morisot, the first lady of Impressionism, by Margaret Sehnan; Sutton Publishing (ISBN 0 7509 2339 3), 1996, p. 234
1881 - 1895

“Just as soon as the great and glorious Revolution broke out [1918 - after World War 1. ] I gave notice and now live entirely for art. For a while, I tried to create new forms of art from the remains of the old culture. From this Merz painting emerged, painting that happily used every material – Pelikan [was a famous ink mark, then] colors or the rubbish from the rubbish heap. So I experienced the Revolution in the most delightful way and pass for a Dadaist, without being one. As a result, I could introduce Dadaism in Holland [together with Theo van Doesburg and his wife Nele] with complete impartiality. In Holland I became familiar with architecture for the first time.”

Kurt Schwitters (1887–1948) German artist

In his 'Autobiography of Kurt Schwitters' (6 June 1926), sent to Hans Hilderbrandt; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 92.
1920s

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