“In [18]35, I made a study trip about Utrecht and Nijmegen to Dusseldorf, Cologne and [w:Koblenz|Coblentz]], together with Samuel Verveer, who had already left the studio of van Hove. My painting 'View of the Moselle Bridge in Coblentz' – exhibited in the same year here - was bought by Schelfhout and, in addition to the satisfaction it gave me, I was allowed to find a counselor in him from then on; he became and remained my friend since then.”

— Johannes Bosboom

origineel citaat van Johannes Bosboom, in Nederlands: In [18]35 maakte ik met gekocht en, behalve de voldoening, die daarin voor mij was gelegen, mocht ik van toen af een raadsman in hem vinden, die mij sinds ook een vriend is geworden en gebleven.
p. 9
1880's, Een en ander betrekkelijk mijn loopbaan als schilder

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Johannes Bosboom 9

Dutch painter 1817–1891

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“As a schoolboy drawing-lessons became my favorite, and that pleasure was not ignited a little when, by the time of my twelfth year, the cityscape-painter B. J. van Hove became our neighbor. Since then I began to long for the moment that I would be allowed to change the school bench for a place in his studio. That desire was already satisfied in the autumn of [18]31.”

Johannes Bosboom (1817–1891) Dutch painter

origineel citaat van Johannes Bosboom, in Nederlands: Als schoolknaap was de teekenles mij de liefste geworden en die lust werd niet weinig aangewakkerd, toen, omstreeks mijn twaalfde jaar, de stadsgezichtschilder B. J. van Hove onze buurman werd. Sinds dien tijd begon ik sterk te verlangen naar het oogenblik, waarop ik de schoolbank tegen een plaatsje in zijn atelier zou mogen verwisselen. Dat verlangen werd reeds bevredigd in het najaar van [18]31.
Source: 1880's, Een en ander betrekkelijk mijn loopbaan als schilder, p. 7

“.. [both of us (Schelfhout ànd J. C. Schotel)] make each a painting that together will form one view, as it were [view of Scheveningen by Schotel / view of The Hague by Schelfhout].... [but] our paintings together will therefore not become one integrated thing, but only pendants... I have taken my drawing from the steps of the Pavilion [in Scheveningen], viewed over the dunes to [the city] The Hague. In the foreground, which is very bare and empty in reality, I have placed some trees.”

Andreas Schelfhout (1787–1870) Dutch painter, etcher and lithographer

translation from original Dutch: Fons Heijnsbroek
(original Dutch, citaat van Schelfhout, uit zijn brief:) ..[dat wij beiden, (Schelfhout èn J.C. Schotel )] elk een schilderij te maaken het welk bijde als het ware één gezigt zoude uitmaken [uitzicht van Scheveningen door Schotel, èn uitzicht op het centrum van Den Haag door Schelfhout].. ..[maar] onze schilderijen zullen dus te zamen geen geheel uitmaken, maar slechts pandanten zijn.. .Ik heb de teekening genomen van het bordes of trap van het pavilloen [in Scheveningen] over de duinen naar Den Haag gezien. Op de voorgrond, die in de natuur zeer kaal en ledig is heb ik eenige bomen geplaatst..
In a letter to J.C. Schotel, 18 Nov. 1828; in: collective Stadsarchief van ErfgoedCentrum DIEP, Dordtrecht, No. 48-d
Schelfhout was referring to the assignment from the Dutch King Willem I for two paintings: one view over the old center of The Hague & one view over the beach of Scheveningen.

“And the first studio I went to [in New York, c. 1950]... I was trying to find de Kooning because he had a painting at the Whitney, which was in the old Studio School [Eighth Street], you know... And I thought I would like to know him. I really dug his painting, and I dug Gorky's painting... But the first studio I went into was Franz Kline... and there were all these Klines, unstretched, hanging on the brick walls. Beautiful. You know, with the telephone book drawings all over the floor, and Kline yakking away, and it was just, I was out of my mind! And so from then on I got involved in the Artists Club. They allowed very few women in, and I was included for $35 a year. And I got very involved in the Cedar Bar and the whole thing..”

Joan Mitchell (1925–1992) American painter

second side of the first tape
1975 - 1992, Oral history interview with Joan Mitchell, 1986

“José Clemente Orozco [became later a famous Mexican painter as well] and I would travel on the same trolley from Coyoacán to Mexico City, and I would carry his papers. We became pals, and I invited him to the house. I had painted four or five things when he visited, and he gave me a hug and said I had a lot of talent, and he chatted on about the horrors of Diego [Rivera]. There was beginning to be talk about Diego; that he had returned from Russia and was giving talks on on Russian theater and art. I would go to hear him. Afterwards, he began to paint at the Prepa. [Escuela Prepatoria] and later at the Secretaríade Educación. I was studying at the Prepa, but the [bus] accident [in 1925] messed me up.”

Frida Kahlo (1907–1954) Mexican painter

1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My Painting', pp. 73-74

“And I came [to New York, 1945]... It was just after the war and I thought it was a little early to get over there [to Europe]. So I spent the winter under the Brooklyn Bridge, on the Brooklyn side, living with Barney Rosset, and I came here [to New York] to study with Hofmann... And I went to Hofmann's class and I couldn't understand a word he said so I left, terrified. But he and I became friends later on. Friends, but I never studied with him..”

Joan Mitchell (1925–1992) American painter

first side of the first tape
1975 - 1992, Oral history interview with Joan Mitchell, 1986

“[I] Went to Germany to study there and graduated from the architecture faculty in Darmstadt in 1914. I studied art during my trips through Europe; went to Paris. In the summer of 1912 I traveled more than 1200 km in Italy on foot, learning and drawing. In 1912 my works were accepted for the first time at the large exhibition in Petersburg. From 1915 in I lived in Moscow, exhibiting each year.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1926 - 1941, Autobiography of the artist' (1941)

“Every social need, such as the need for friendship, must be a party to its own satisfaction: I cannot passively find my friend as a ready-made friend; a ready-made human being he may be, but his friendship for me I must help to create by my own active resolve.”

William Ernest Hocking (1873–1966) American philosopher

Source: The Meaning of God in Human Experience (1912), Ch. XII : The Will as a Maker of Truth, p. 140.

“My longings, my hopes, my dreams, and my every effort has been to live for Him who rescued me, to study for Him who gave me this mind, to serve Him who fashioned my will, and to speak for Him who gave me a voice.”

Ravi Zacharias (1946) Indian philosopher

Source: Jesus Among Other Gods: The Absolute Claims of the Christian Message

“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 painted these 'Variations' [of landscapes] for some years and then I found it necessary to find form for the face, because I had come to understand that great art can only be painted with religious feeling. And that, I could only bring to the human face. I understood that the artist must express through his art, in forms and colours, the divine in him. Therefore a work of art is God made visible and art is 'a longing for God'.
I painted 'faces' for many years. I sat in my studio and painted, and I did not need nature to prompt me. It was enough for me to immerse myself in myself, to pray and prepare my soul to attain a religious state..”

Alexej von Jawlensky (1864–1941) Russian painter

In a letter to the Dutch Fauvist painter Father Verkade, 12 June 1938; as quoted in Alexej Jawlensky, Jürgen Schultze; M. DuMont Schauberg, Cologne 1970, p. 39
1936 - 1941

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Johannes Bosboom 9

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