“It is color, not locally true from the point of view of the stereoscopic realist, but color to suggest any emotion of an ardent temperament. When Paul Mantz saw at the exhibition the violent and inspired sketch of Delacroix…. the 'Barque of Christ' - he turned away from it exclaiming: 'I did not know that one could be so terrible with a little blue and green'. Hokusai wrings the same cry from you [Theo], but he does it by his line, his drawing, when you say in your letter - 'the waves are claws and the ship is caught in them'. Well, if you make the color exact or the drawing exact, it won't give you sensations like that.”
Quote in his letter to brother Theo, from Arles, 8 September 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 533) pp. 32-33
1880s, 1888
Help us to complete the source, original and additional information
Vincent Van Gogh 238
Dutch post-Impressionist painter (1853-1890) 1853–1890Related quotes

Quote of Camille Pissarro, in a letter, Eragny, 23 February 1887, to his son Lucien; in Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, p. 99
1880's

Quote in Delacroix's Journal of 1850; as cited in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 230 – 231
1831 - 1863

Remarks on the question: can a white man sing soul music?. Pop Chronicles: Show 15 - The Soul Reformation I: A symposium on soul http://digital.library.unt.edu/ark:/67531/metadc19764/m1/, interview recorded 1.2.1968 http://web.archive.org/web/20110615153027/http://www.library.unt.edu/music/special-collections/john-gilliland/o-s.

All the ride to the hospital I kept bending over him, saying "Jack, Jack, can you hear me, I love you, Jack."
The "Camelot" interview (29 November 1963)
Source: Color, Format and Abstract Art' (1977), pp. 99 – 105

Letter to F.W Weber (1950); as quoted in Maxfield Parrish by Coy Ludwig (1997)
Context: It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color. A modern Kodachrome is a delight when held up to the light with color luminous like stained glass. So many ask what is meant by transparent color, as though it were some special make. Most all color an artist uses is transparent: only a few are opaque, such as vermillion, cerulean blue, emerald green, the ochres and most yellows, etc. Colors are applied just as they come from the tube, the original purity and quality is never lost: a purple is pure rose madder glowing through a glaze of pure blue over glaze, or vice versa, the quality of each is never vitiated by mixing them together. Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing. Imagine a Rembrandt if his magic browns were mixed together instead of glazed. The result would be a kind of chocolate. Then too, by this method of keeping colors by themselves some can be used which are taboo in mixtures.

Quotes from his operas, Die Meistersinger von Nürnberg, Hans Sachs, Act 3, Scene 1
Original: (de) "... in Flucht geschlagen,
wähnt er zu jagen;
hört nicht sein eigen Schmerzgekreisch,
wenn er sich wühlt ins eig'ne Fleisch,
wähnt Lust sich zu erzeigen!"