“Oh Baudelaire... He used to be enormously important to me. It's thanks to him that I was able to get through the war [in Paris, during 1940 – 1945 Van Velde had a long and painful break, with only a few paintings he finished]. A true loyal mind without hypocrisy. The most universal spirit. The greatest Frenchman. I have always been much less interested in painters”

— Bram van Velde

than Baudelaire - a great surprise to hear for Charles Juliet the interviewer
14 September 1967; p. 66
1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

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Bram van Velde97

Dutch painter 1895–1981

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“It is true that other people can help you, and to lasting effect... If I hadn't had Beckett in 1940 [in Paris, when Van Velde was strongly demoralized by the death of his wife], I'm not sure I could have stood it. I am really not sure... At that time he [Beckett] he was driven by an extremely aggressive and fiery Irish spirit. That has lessened as time has gone on... I don't know anywhere in modern art any more faithful or more impressive picture of contemporary humanity than the one he offers us in 'The Unamable.”

Bram van Velde (1895–1981) Dutch painter

2 November 1970; p. 79
1970's, Conversations with Samuel Beckett and Bram van Velde (1970 - 1972)

“I don't think it was pain that made [Vincent Van Gogh] great - I think his painting brought him whatever happiness he had.”

David Lynch (1946) American filmmaker, television director, visual artist, musician and occasional actor

“I met Beckett at my brother’s [ w:Geert van Velde, also an abstract painter] place. That was a Big meeting [circa 1938, in Paris], in capital letters. It was before war started, life was still normal. That time I was very lonely. We saw each other often. Before the war he had published already something, but his fame came in 1953. We never spoke about his work. He was a taciturn man. Sometimes a word escaped from his mouth. Sure, a word you would never forget. It would stick in your head… This friendship with Beckett is the most important experience in my life. He was fully alive for my way of working. What he could express in words, I did with my paintings.”

Bram van Velde (1895–1981) Dutch painter

About his contact with Beckett in Paris, before and during World War 2.
1970's
Source: article "Schilder Bram van Velde in Dordrecht," in: NRC Handelsblad by Paul Groot, 1979 (English translation: Charlotte Burgmans)

“The one whom I honor most of all is Rembrandt. Rubens and Velasquez painted better than Rembrandt, but he was the greatest of all painters because he was most powerful humanly. His grasp of all things was from within out. He had something that surpassed all other painters-a great humanity. He is perhaps the only one who could have painted the Christ.”

Fritz von Uhde (1848–1911) German artist

As quoted by Gustav Stickley (1911). The Craftsman http://digicoll.library.wisc.edu/cgi-bin/DLDecArts/DLDecArts-idx?type=article&did=DLDecArts.hdv20n06.i0027&id=DLDecArts.hdv20n06&isize=text, Volume 20. United Crafts, p. 631

“He had lived and acted on the assumption that he was alone, and now he saw that he had not been. What he had done made others suffer. No matter how much he would long for them to forget him, they would not be able to. His family was a part of him, not only in blood, but in spirit.”

Richard Wright (1908–1960) African-American writer

Native Son (1940)

“Without my husband I would never have become a painter, and without me he had probably not become a painter.”

Sina Mesdag-van Houten (1834–1909) Dutch painter

translation from original Dutch: Fons Heijnsbroek (original Dutch: citaat van Sientje Mesdag van Houten, in het Nederlands:) Zonder mijn man was ik nooit schilderes geworden, en zonder mij was hij waarschijnlijk geen schilder geworden. Quote in the magazine 'Wereldkroniek', 21 April 1906; as cited on website Panorama Mesdag http://www.panorama-mesdag.nl/ontdek/mesdag/?gclid=EAIaIQobChMI5cO-hZzH3QIVDYmyCh0duwn1EAAYAiAAEgKqIPD_BwE

“I was able to make enough noise to get Van the Science Fiction Writers of America Grand Master Award, which was presented to him in full ceremony during one of the last moments when he was cogent and clearheaded enough understand that finally, as last, dragged kicking and screaming to honor him, the generation that learned from what he did and what he had created had, at last, fessed up to his importance.”

Harlan Ellison (1934–2018) American writer

In his introduction "Van is Here, But Van is Gone" to Futures Past: The Best Short Fiction of A. E. van Vogt (July 1999) http://www.sfrevu.com/ISSUES/2000/ARTICLES/20000128-03.htm Context: Alfred E. van Vogt, since the appearance of his first two stories — "Black Destroyer" and "Discord in Scarlet" (Astounding Science Fiction, July and December 1939) the most memorable debut in the long history of the genre — has been a giant. The words seminal and germinal leap to mind. Sadly, at this juncture. the words tragedy and farewell also insinuate themselves. … Van is still with us, as I write this, in June of 1999, slightly less than fifty years since I first encountered van Vogt prose in a January 1950 issue of Startling Stories, but Van is gone. He is no longer with us. … Because the great and fecund mind of A. E. van Vogt has fallen into the clutches of that pulp thriller demon, Alzheimer's. Van is gone. … Anyone's demise or vanishment is in some small way tragic but the word "tragedy" requires greater measure for its use. … Van' s great mind now gone. Tragedy. The ultimate tragic impropriety visited on as good a man as ever lived. A gentle. soft spoken man who was filled with ideas and humor and courtesy and kindness. Not even those who were not aficionados of Van's writing could muster a harsh word about him as a human being. He was as he remains now, quietly and purposefully, a gentleman. But make no mistake about this: the last few decades for him were marred by the perfidious and even mean spirited and sometimes criminal acts of poltroons and self-aggrandizing mountebanks and piss-ants into whose clutches he fell just before the thug Alzheimer got him. … I came late to the friendship with Van and Lydia. Perhaps only twenty-five or so years. But the friendship continues, and at least I was able to make enough noise to get Van the Science Fiction Writers of America Grand Master Award, which was presented to him in full ceremony during one of the last moments when he was cogent and clearheaded enough understand that finally, as last, dragged kicking and screaming to honor him, the generation that learned from what he did and what he had created had, at last, fessed up to his importance. Naturally, others took credit for his getting the award. They postured and spewed all the right platitudes. Some of them were the same ones who had said to me — during the five years it took to get them to act honorably — "we'd have given it to him sooner if you hadn't made such a fuss." Yeah. Sure. And pandas'll fly out of my ass.

“For me, and I have always said this, he will be regarded as one of the greatest midfielders ever when he finishes his career. No doubt.”

Steven Gerrard (1980) English footballer

Kaka Quoted in Kaka:Steven Gerrard has The Heart Of a Lion http://www.goal.com/en-us/news/85/england/2009/11/12/1620429/kaka-steven-gerrard-has-the-heart-of-a-lion Goal, 12 November 2009

“It is not what the artist does that counts. But what he is. Cézanne would never have interested me if he had lived and thought like Jaques-Emile Blanche, even if the apple he had painted had been ten times more beautiful. What interests us is the anxiety of Cézanne, the teaching of Cézanne, the anguish of Van Gogh, in short the inner drama of the man. The rest is false.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Boisgeloup, winter 1934
Richard Friedenthal, (1963, p. 259)
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“And he would listen, making only a few comments, always sympathetic, so that when I left him I had the distinct impression he had solved everything for me.”

Anne Rice book Interview with the Vampire

Source: Interview with the Vampire

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