“This art that we are all working in, we feel it has a long future before it, and one must have some settled base, like steady people, and not like decadents. Here my life will become more and more like a Japanese painter's, living close to nature like a petty tradesman.”

— Vincent Van Gogh

Quote in his letter to brother Theo, from Arles, Autumn 1888; 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 540), pp. 22-23
1880s, 1888

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "This art that we are all working in, we feel it has a long future before it, and one must have some settled base, like …" by Vincent Van Gogh?

Vincent Van Gogh 238

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

Elliott Carter (1908–2012) American composer

From the documentary A Labyrinth of Time (2004) by Frank Scheffer.

“A painter must compensate the natural deficiencies of his art. He has but one sentence to utter, but one moment to exhibit. He cannot, like the poet or historian, expatiate.”

Joshua Reynolds (1723–1792) English painter, specialising in portraits

Discourses on Art

“Future art that is based on appearances won't look like the art that's gone before. Even revivals of a period are not the same.”

David Hockney (1937) British artist

From a series of interviews with Marco Livingstone (April 22 - May 7, 1980 and July 6 - 7, 1980) quoted in Livingstone's David Hockney (1981) , p. 112
1980s
Context: When conventions are old, there's quite a good reason, it's not arbitrary. So Picasso discovered that, as it were, and I'm sure that for him that was probably almost as exciting as discovering Cubism, rediscovering conventions of ordinary appearance, one-point perspective or something. The purists think you're going backwards, but I know you'd go forward. Future art that is based on appearances won't look like the art that's gone before. Even revivals of a period are not the same. The Renaissance is not the same as ancient Greece; the Gothic revival is not the same as Gothic. It might look like that at first, but you can tell it's not. The way we see things is constantly changing. At the moment the way we see things has been left a lot to the camera. That shouldn't necessarily be.

“We like art forms that express our longing for union, and for a more perfect and beautiful world.”

Susan Cain book Bittersweet

Bittersweet, Chapter 2 at p. 36

“I'd like you [Theo] to spend some time here, you'd feel it — after some time your vision changes, you see with a more Japanese eye, you feel colour differently. I'm also convinced that it's precisely through a long stay here that I'll bring out my personality. The Japanese [like a. o. Hokusai, admired by Vincent] draws quickly, very quickly, like a flash of lightning, because his nerves are finer, his feeling simpler. I've been here [Arles] only a few months but — tell me, in Paris would I have drawn in an hour the drawing of the boats?... Now this [sketch] was done without measuring, letting the pen go. So I tell myself that gradually the expenses will be balanced by work.”

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

In a letter to brother Theo, from Arles, c. 5 June 1888, in 'Van Gogh's Letters', letter 620 http://vangoghletters.org/vg/letters/let620/letter.html, Van Goghmuseum
The Japanese artists with their colored woodblock-prints meant a great inspirations for several Paris' artists - they were extremely important for Vincent, these years
1880s, 1888

“We think the more detailed and exhaustive our plans, the more likely the future will actually mirror our vision. But it rarely even comes close.”

Tim Hurson (1946) Creativity theorist, author and speaker

Think Better: An Innovator's Guide to Productive Thinking

“We deem it a settled point that the destiny of the colored man is bound up with that of the white people of this country. … We are here, and here we are likely to be.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

Essay in North Star (November 1858); as quoted in Faces at the Bottom of the Well : The Permanence of Racism (1992) by Derrick Bell, p. 40
1850s
Context: We deem it a settled point that the destiny of the colored man is bound up with that of the white people of this country. … We are here, and here we are likely to be. To imagine that we shall ever be eradicated is absurd and ridiculous. We can be remodified, changed, assimilated, but never extinguished. We repeat, therefore, that we are here; and that this is our country; and the question for the philosophers and statesmen of the land ought to be, What principles should dictate the policy of the action toward us? We shall neither die out, nor be driven out; but shall go with this people, either as a testimony against them, or as an evidence in their favor throughout their generations.

“The heart does not talk, it is the intellect that does all the talking. All dealings are at the intellectual level. We have become like machines; our very lives have become mechanical. Life has lost its naturalness — like a garland of plastic flowers. There is no heart in life anymore. Only when hearts come together does true life blossom.”

Mata Amritanandamayi (1953) Hindu spiritual leader and guru

Conversation in Helsinki (2000)

“Today I saw an exhibition of old Japanese paintings and sculpture [in Paris]. I was seized by the great strangeness of these things. It makes our own art seem all the more conventional to me. Our art is very meager in expressing the emotions we have inside. Old Japanese art seems to have a better solution for that... We must put more weight on the fundamentals!! When I took my eyes from these pictures and began looking at the people around me, I suddenly saw that human being are more remarkable, much more striking and surprising than they have been painted. A sudden realization like that comes only at moments.”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, Paris, 1898; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 197
1898

“Yes, Johannes Vermeer [Dutch 17th century master painter] paints in thin layers – there is no waste effort – and those small dots – no, they are not like Seurat's, though they contain all the light the pointillist may have wished for, concentrated, hovering before the object, but not obliterating it... Vermeer is not a sun painter, but rather a moon-painter – like Uccello – that's good, it is the pure, final stage of art, the moment when it becomes more real than reality.”

Arshile Gorky (1904–1948) Armenian-American painter

Source: 1942 - 1948, Arshile Gorky, – Goats on the roof' (2009), pp. 357-58: in: 'A visit to the Metropolitan Museum with Gorky', Ethel Schwabacher]], 1947

“This art that we are all working in, we feel it has a long future before it, and one must have some settled base, like steady people, and not like decadents. Here my life will become more and more like a Japanese painter's, living close to nature like a petty tradesman.”

Help us to complete the source, original and additional information

Vincent Van Gogh 238

Related quotes

Related topics