“I reacted to Cézanne almost the same way as you [= Rosalyn Drexler ], the first time I saw him when I was 14... Then I saw my first Cezanne and it jolted me. It was a 'Bathers' [Cézanne painted several of them]. I didn't think he drew well at all. I thought the figures looked stiff and wooden, but I was enthralled by it. I knew there was something there that was going to take me a lifetime to understand. What I took to be the crudity of his technique — that opened a door for me. I began to look at everything differently. That was the year [1932] I discovered Matisse, Picasso, Degas, Soutine — I began to go to the Museum of Modern Art every week. At the same time, I loved New Yorker covers — and El Greco. I didn't mind mixing things up. Nobody was going to tell me what to like or what not to like. Until I was 17 I thought all real artists (I didn't count commercial artists) were dead or foreign with the exceptions of Georgia O'Keeffe and John Marin, whose work I had seen at 'An American Place.”

Jace Herondale and Alec Lightwood, pg. 437-438
The Mortal Instruments, City of Heavenly Fire (2014)

Conversation with W.C. Seitz, in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983
after 1970

As quoted in Scenes in the Life of Harriet Tubman (1971), by Sarah Hopkins Bradford, Freeport: Books for Libraries Press, pp. 14-15.

Source: Journal 1970-1986

Source: It's Not Summer Without You

Source: The Key

Allure magazine, January 2008.

Variant: Do I look feeble to you"
"Actually, yes."
"Well, looks can be deceiving. For instance, when I met you, I thought you look reasonably intelligent.
Source: Unwind

from: 'Lebenserinnerungen', 1938
Source: 1936 - 1941, Life Memories' (1938), p. 186