“Constable, an admirable man, is one of England's glories. I have already told you about him and about the impression he had made on me when I was making 'The massacre at Chios'. He and Turner were real reformers. They broke out of the rut of traditional landscape painting. Our School [ French Romanticism ], which today abounds in men of talent in this field, profited greatly by their example. Géricault [first leader of French Romanticism, followed by Delacroix after his early death] came back in a daze from seeing one of the great landscapes Constable sent us.”

— Eugène Delacroix

Quote from Delacroix' letter to Théophile Silvestre, Paris, 31 December 1858; as quoted in Eugene Delacroix – selected letters 1813 – 1863, ed. and translation Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 352
1831 - 1863

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Eugène Delacroix 50

French painter 1798–1863

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“He (Delacroix) turns David [French painter] upside down. His painting is iridescent. Seeing one Constable [famous English landscape painter, admired by French painters, then] is enough to make him understand all the possibilities of landscape, and he too sets up his easel by the sea... And he has a sense of human being, of life in movement, of warmth. Everything moves, every glistens. The light!... There is more warm light in this interior [probably: Delacroix's 'Woman of Algiers'] of his than in all of Corot's landscapes..”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 196 in: 'What he told me – II. The Louvre'

“What surprising fellows those French painters are. A Millet, Delacroix, Corot, Troyon, Daubigny, Rousseau, and a Daumier.... Something else about Delacroix - he had a discussion with a friend about the question of working absolutely from nature, and said on that occasion that one should take one's 'studies' from nature - but that the 'actual painting' had to be made 'by heart'. This friend was walking along the boulevard when they had this discussion - which was already fairly heated. When they parted the other man was still not entirely persuaded. After they parted, Delacroix let him stroll on for a bit - then (making a trumpet of his two hands) bellowed after him in the middle of the street - to the consternation of the worthy passers-by:
'By heart! By heart!”

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

(Par coeur! Par coeur!)
I can't tell you how much I enjoyed reading this article and some other things about Delacroix..
In his letter to Anthon van Rappard, from Nuenen, The Netherlands, 8 and c. 15 August 1885 - original manuscript, letter 526, at Van Gogh Museum, location Amsterdam - inv. nos. b8390 V/2006, http://vangoghletters.org/vg/letters/let526/letter.html
See for this anecdote, taken from Charles Blanc, Les artistes de mon temps, letter 496, n. 7.
1880s, 1885

“Even more! He had a unique talent for languages and did not have to learn any. He never did any courses! When he came back from France, he spoke French. He would quickly learn the language of any country he came to – Polish, Spanish, German, Russian… This came very easily to him. He never spent as much time to learn a language as, for example, I did. I envied my brother in this case. Moreover, he not only spoke nut also wrote. The French praised his French very much. His ear for music must have helped him. Besides, he had a good natural memory. Hence were his broad communication and a career growth.”

Vasyl Slipak (1974–2016) Ukrainian opera singer

2017
Orest Slipak, the brother of singer. Brother about brother. The Day. Кyiv.ua. - 2017. - 27 April. https://day.kyiv.ua/en/article/topic-day/brother-about-brother

Alexander Calder (1898–1976) American artist

1950s - 1960s, Excerpt, What Abstract Art Means to Me (1951)

“In the autumn of 1884 I went to Paris. The spirit that greeted me was certainly more impressive than in Germany. I studied in a famous school. The French who I met there seemed to me not at all equipped. Traditional views. I was there for three years. I never found a talent. Among the Germans, in particular at the Academy of Munich, there was a lot more momentum. I admire the French painting from Watteau to Monet, otherwise there is nothing that can be said to be exceptional.”

Lovis Corinth (1858–1925) German painter

Quote, 1923; in Lovis Corinth, Selbstbiographie, L. Corinth; Hirzel, Leipzig, 1926, p. 190; as quoted in: German Artists' Writings in the XX Century - Lovis Corinth, Autobiographic Writings. Part two http://letteraturaartistica.blogspot.nl/2014/10/german-artists-writings-in-xx-century.html

“So I asked him why he had poled one of his fields and not the other of his small farm. His reply showed the folly of assuming rationality in human behavior. "The Germans told us farmers to pole all our fields by June 15. My cow never liked that west field so I poled it first." In this case, the whim of a French cow was the controlling factor, not the plans of the German General Staff. As I was about to go, the farmer asked me to wait a moment, went back into the house and returned with a clip of World War I rifle ammunition. He gave it to me with the injunction "Allez me tuer un Boche."”

Maxwell D. Taylor (1901–1987) United States general

"Go kill me a German."
Source: Swords and Plowshares (1972), p. 80-81

“When [Capt. Pascal] saw me he appeared a good deal surprised, and asked me how I came back? I answered, 'In a ship.' To which he replied dryly, 'I suppose you did not walk back to London on the water.' As I saw, by his manner, that he did not seem to be sorry for his behaviour to me, and that I had not much reason to expect any favour from him, I told him that he had used me very ill, after I had been such a faithful servant to him for so many years; on which, without saying any more, he turned about and went away.”

Olaudah Equiano (1745–1797) African abolitionist

Chap. IX
The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African (1789)

“Maybe Delacroix stands for Romanticism. He stuffed himself with too much Shakespeare and Dante, thumbed through too much Faust. His palette is still the most beautiful in France, and I tell you no one under the sky had more charm and pathos combined than he, or more vibration of colour. We all paint in his language, as you all write in Hugo's.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 197 in: 'What he told me – II. The Louvre'

“I have had a long talk with Renoir. He admitted that the whole crowd – Durand and his former admirers – were shouting at him, deploring his attempt to abandon his 'Romantic' period. He seems very sensitive to what we think of his exhibition. I told him that as far as we were concerned, the search for unity should be the aim of every intelligent artist. – that even in spite of serious faults, it was more intelligent and artistic than wallowing in romanticism.”

Camille Pissarro (1830–1903) French painter

Quote in a letter to his son Lucien, 14th May 1887, as quoted in Renoir – his life and work, Francois Fosca, Book Club Associates /Thames and Hudson Ltd, London 1975, p. 189
1880's

“My entrance into the field of abstract art came about as the result of a visit to the studio of Piet Mondrian in Paris in 1930.
I was particularly impressed by some rectangles of color he had tacked on his wall in a pattern after his nature.
I told him I would like to make them [Mondrian's flat painting] oscillate, he objected. I went home and tried to paint abstractly - but in two weeks I was back again among plastic materials.
I think that at that time and practically ever since, the underlying sense of form in my work has been the system of the Universe, or part thereof. For that is a rather large model to work from.”

Alexander Calder (1898–1976) American artist

Quote (1951), in 'What Abstract Art Means to Me' http://www.jstor.org/stable/4058250, George L. K. Morris, Willem De Kooning, Alexander Calder, Fritz Glarner, Robert Motherwell, Stuart Davis; as cited in the The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, (Spring, 1951), pp. 2-15
1950s - 1960s

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