“[Severini characterized his approach to the importance of Divisionism for Futurism as].. a consequence of Neo-Impressionism (Seurat, Signac) and Van Gogh, Toulouse Lautrec, Degas.. [compared to that of his Milanese colleagues who works were] influenced by Jugendstil [and] a continuation of the Lombardian tradition of Segantini, Previati..”

— Gino Severini

Source: The Life of a Painter - autobiography', 1946, p. 37; as quoted in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003, p. 31

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Gino Severini 28

Italian painter 1883–1966

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“I was interested in achieving a creative freedom, a style that I could express with Seurat's.... color technique [color-divisionism], but shaped to my own needs. Proof that I found it is in my paintings of that period, among which is the famous 'Pan-Pan a Monico' [Severini painted in 1912]. My preference for Neo-Impressionism dates from those works. At times I tried to suppress it, but it always worked its way back to the surface.”

Gino Severini (1883–1966) Italian painter

Source: The Life of a Painter - autobiography', 1946, p. 53; as quoted in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003.

“Above all, we [the Italian Futurist painters] continue and develop the divisionist principle, but we are not engaged in Divisionism [developed by Seurat and Signac ]. We apply an instinctive complementarism which is not, for us, an acquired technique, but rather a way of seeing things.”

Luigi Russolo (1885–1947) Electronic music pioneer and Futurist painter

Quote of Russolo in: Le Futurisme: Création et avant-garde, Giovanni Lista, 2001; as cited in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 47.
undated quotes

“Signac told me of his death this way: 'He [= Vincent van Gogh ] gave himself a bullet in the ribs; it passed through his body and lodged in his groin. He walked for two kilometers, losing all his blood, and went on to die in his inn.”

Georges Seurat (1859–1891) French painter

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“How should one approach the person of van Gogh in order to be able to build a statue of him? How can one place him outside of himself, separate him from the tragic character of his life? How can one build a statue in the open air which simultaneously evokes the rare and the new person who was van Gogh, as also the enormity of the new aspect of the current and future art of painting?”

Ossip Zadkine (1890–1967) French sculptor

Quote in: 'Le Maillet et le Ciseau', (early 1956); as quoted in Zadkine and Van Gogh, ed. Garance Schabert and Ron Dirven (transl. Anne Porcelijn), Vincent van Goghhuis, Zundert & Scriptum Art, Schiedam 2008, p.29
1940 - 1960

“I venerate van Gogh. He was a remarkable human being, a man who knew about love. His work reflects a spirit filled with light, even though his life was a tragedy in many ways.”

Henry Miller (1891–1980) American novelist

Reflections (1981)

“One of the symptoms of an approaching nervous breakdown is the belief that one’s work is terribly important. If I were a medical man, I should prescribe a holiday to any patient who considered his work important.”

Bertrand Russell (1872–1970) logician, one of the first analytic philosophers and political activist

“The artist cannot look to others to validate his efforts or his calling. If you don't believe me, ask Van Gogh, who produced masterpiece after masterpiece and never found a buyer in his whole life.”

Steven Pressfield (1943) United States Marine

Source: The War of Art: Break Through the Blocks & Win Your Inner Creative Battles

“This exchange – mainly in the form of letters [between the brothers van Gogh] – was not only about painting and art, but covered everything to do with one's existence and the philosophical or religious colouring, in a word: for the reader of the letters written by Vincent to his brother a total of human behaviour is revealed that of the dual being of van Gogh. This is how my first wish and then obsession was started, to build a monument for the two van Gogh brothers.”

Ossip Zadkine (1890–1967) French sculptor

Source: 1940 - 1960, Les frères Van Gogh, origine et justification', c. 1955, pp. 67-69

“Seurat and Signac mixed paintings with the dry and abstract laws of science. This approach, in my opinion, usually strays from the purpose of art in general. Because it means that one cannot expect from an artifact, that is created with mathematical laws, to establish an improbable and irrational relationship between the work and the viewer.”

Guity Novin (1944) artist

Source: Negin (1971), p. 57

“Weissenbruch to Anton Mauve: He [ Vincent van Gogh ] is drawing damn well, I could paint after his studies.”

Jan Hendrik Weissenbruch (1824–1903) Dutch painter of the Hague School (1824-1903)

version in original Dutch, Weissenbruch tegen Anton Mauve: Hij teekent verdomd goed, ik zou naar zijn studies kunnen werken.
a remark to Anton Mauve, who asked Weissenbruch to visit Vincent van Gogh and see his work
Source: J. H. Weissenbruch', (n.d.), p. 44, note 1

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Gino Severini 28

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