Children of the Albatross (1947)
Context: In the world of the dreamer there was solitude: all the exaltations and joys came in the moment of preparation for living. They took place in solitude. But with action came anxiety, and the sense of insuperable effort made to match the dream, and with it came weariness, discouragement, and the flight into solitude again. And then in solitude, in the opium den of remembrance, the possibility of pleasure again.
“The review was more a satisfaction to me than a joy. Joy, overpoweringly beautiful moments, comes to an artist without other noticing. The same is true for moments of sadness. That's why it is true that artists live mostly in solitude... Otto [Modersohn] and I shall be coming home [ Worpswede ] again in the spring. That man is touching in his love. We are going to try to buy the Brünjes place in order to make our lives together freer and more open... If the dear Lord will allow me once again to create something beautiful, then I shall be happy and satisfied; if only I have a place where I can work in peace. I will be grateful for the portion of love I've received. If one can remain healthy and not die too young..”
In a letter from Paris, 18 November 1906, to her sister Milly; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 206
1906 + 1907
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Paula Modersohn-Becker 55
German artist 1876–1907Related quotes
Quote in 'Livsfrisen tilblivelse', Blomqvist, Oslo 1929, p. 12
1896 - 1930
Source: Henry and June: From "A Journal of Love"--The Unexpurgated Diary of Anaïs Nin
Book II
The Advancement of Learning (1605)
Context: I could not be true and constant to the argument I handle, if I were not willing to go beyond others; but yet not more willing than to have others go beyond me again: which may the better appear by this, that I have propounded my opinions naked and unarmed, not seeking to preoccupate the liberty of men's judgments by confutations.