
1920s, Viereck interview (1929)
Letter to W. W. Norton, 11 March, 1931
1930s
1920s, Viereck interview (1929)
one week later Cezanne died
Quote in Cezanne's last letter to his son Paul, Aix, 15 October 1906; as quoted in Cézanne, Ambroise Vollard, Dover publications Inc. New York, 1984, p. 112
Quotes of Paul Cezanne, after 1900
How she felt when she sat down at the feet of Sri Aurobindo, quoted in "Diary notes and Meeting with Sri Aurobindo" and also in The Mother (of Sri Aurobindo Ashram) Prema Nandakumar of National Book Trust, India, (1977) http://books.google.co.in/books?id=R1sqAAAAYAAJ, p. 23
As quoted in "At 90, and Still Dynamic : Revisiting Sir Karl Popper and Attending His Birthday Party" by Eugene Yue-Ching Ho, in Intellectus 23 (Jul-Sep 1992) http://www.eeng.dcu.ie/~tkpw/hk-ies/n23a/
In 1957; p. 35
before 1960, "Yves Klein, 1928 – 1962, Selected Writings"
Original: Je suis un grand artiste et je le sais. C'est parce que je le suis que j'ai tellement enduré de souffrances. Pour poursuivre ma voie, sinon je me considérerai comme un brigand. Ce que je suis du reste pour beaucoup de personnes. Enfin, qu'importe! Ce qui me chagrine le plus c'est moins la misère que les empêchements perpétuels à mon art que je ne puis faire comme je le sens et comme je pourais le faire sans la misère qui me lie les bras. Tu me dis que j'ai tort de rester éloigné du centre artistique. Non, j'ai raison, je sais depuis longtemps ce que je fais et pourquoi je le fais. Mon centre artistique est dans mon cerveau et pas ailleurs et je suis fort parce que je ne suis jamais dérouté par les autres et je fais ce qui est en moi.
Source: 1890s - 1910s, The Writings of a Savage (1996), pp. 53-54: Quote in a letter to his wife, Mette (Tahiti, March 1892)
In a letter to Claude Monet, 1880; quoted by Geffroy: Claude Monet, vol. I, p. 175; as quoted by John Rewald, in Georges Seurat', a monograph https://ia800607.us.archive.org/23/items/georges00rewa/georges00rewa.pdf; Wittenborn and Compagny, New York, 1943. p. 15
In 1880 an exhibition of the works of Claude Monet had - as Signac was to say later - 'decided his career,' - and after his first efforts as an impressionist Signac had ventured to appeal to Monet, writing him this sentence in his letter
The Daring Young Man on the Flying Trapeze (1934), A Cold Day