“I paint all day. First Becka Brotmann with her loose yellow hair and just a suggestion of dahlias in the background. Then I painted Anni Brotmann at the clay pit, where the sun nearly baked us. In the afternoon I painted Rieke Gefken holding red lilies. I think it is the best thing I've done so far – I'll show it to Mackensen [her teacher in Worpswede] tomorrow. I spent another hour with Vogeler, yesterday.... he showed us a sketchbook full of his ideas for etchings.... many really fine and original things.”

— Paula Modersohn-Becker

in a letter to her mother, from Worpswede, c. 28 August 1897; as quoted in Paula Modersohn-Becker, The Letters and Journals by Paula Modersohn-Becker, eds. Günter Busch, Liselotte von Reinken, Arthur S. Wensinger, Carole Clew Hoey - Northwestern University Press, 1998, p. 81
1897

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Paula Modersohn-Becker 55

German artist 1876–1907

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“A great many things are dying very violently all the time. The best days for violent deaths are Tuesdays. They are the yellow-paint days. Saturdays are second best -- or worst. Saturdays are red-paint days. The Great Death Game is therefore a contest between red-paint days and yellow-paint days. So far yellow-paint days are winning by thirty-one corpses to twenty-nine. Whatever the colour, a violent death is always celebrated by a firework.”

Peter Greenaway (1942) British film director

Drowning By Numbers

“In the afternoon he [ Johannes Bosboom ] took me to look for it [her first showed painting, ever]. There it was! I thought I was swimming! And next day, our lounge was full of people [at home, with her father], a friend of dad came in and he said: 'I have seen your painting. Very well, indeed. Do you know it just has been sold?' Suddenly it fell silent in the room. Daddy looked at me with surprised eyes. It was my declaration of independence.”

Marie Bilders-van Bosse (1837–1900) painter from the Netherlands

translation from the original Dutch: Fons Heijnsbroek
version in original Dutch (citaat van Maria Bilders-van Bosse, in Nederlands): 's Middags nam hij [ nl:Johannes Bosboom ] me mee, om ernaar te gaan kijken [haar eerst-getoonde schilderij]. Daar hing het! Ik dacht dat ik zwom! En den volgenden dag, de salon was bij ons [thuis bij haar vader] vol menschen, komt een vriend van papa binnen en zegt: 'Ik heb je schilderij gezien. Heel goed. Weet je dat het verkocht is?' Het was ineens stil in de kamer. Pappa keek me met een paar verbaasde ogen aan. Het was mijn onafhankelijkheidsverklaring.
Quote of Marie Bilders-van Bosse, c. Jan. 1875; as cited by Dutch writer Augusta de Wit, in 'Marie Philippine Bilders-van Bosse', in artmagazine 'De Gids', 1900, p. 513
Bosboom had organized that one of her early paintings was showed in the shop-window of art-dealer Goupil in The Hague; it became her first sale, to Dr. Blom Coster

“The three horizontal bands at the top [ in his collage: landscape with paintings 1954] correspond to sea, sand and sky, while the yellow/white and red/white shapes at the bottom are the paintings – though of a kind I actually painted only later. It was the collage that suggested the idea of doing such paintings.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. 18 : 'Notes from 1969'

“Today I painted my first plain air portrait at the clay pit, a little blond and blue-eyed girl. The way the little thing stood in the yellow sand was simply beautiful – a bright and shimmering thing to see. It made my heart leap. Painting people is indeed more beautiful than painting a landscape. I suppose you can notice that I am dead-tired, after this long day of hard work, cant you? But inside I am so peaceful and happy..”

Paula Modersohn-Becker (1876–1907) German artist

in a letter to her mother, from Worpswede, August 1897; as quoted in Paula Modersohn-Becker, The Letters and Journals by Paula Modersohn-Becker, eds. Günter Busch, Liselotte von Reinken, Arthur S. Wensinger, Carole Clew Hoey - Northwestern University Press, 1998, p. 79
1897

“If upon a white canvas I jot down some sensations of blue, of green, of red – every new brush stroke diminishes the importance of the preceding ones. Suppose I set out to paint an interior... If I paint a green near the red, if I paint in a yellow floor, there must still be between this green, this yellow, and the white of the canvas a relation that will be satisfactory to me. But these several tones mutually weaken one another. It is necessary, therefore, that the various elements that I use be so balanced that they do not destroy one another..”

Henri Matisse (1869–1954) French artist

Source: 1905 - 1910, Notes d'un Peintre' (Notes of a Painter) (1908), p. 411

“I knew nothing when I first met him. He taught me to see things through his eyes. Dalí was my teacher. He let me use his brushes, his paint and his canvas, so that I could play around while he was painting for hours and hours in the same studio. Surrealism was a good school for me. Listening to Dalí talk was better than going to any art school.”

Amanda Lear (1939) singer, lyricist, composer, painter, television presenter, actress, model

http://www.3d-dali.com/centennial-magazine/e-9-muse.htm, Salvador Dali Centennial Magazine – Amanda Lear, 15 June 2004, 3d-dali.com, 15 July 2018

“I do both: I make preliminary drawings, other times I paint directly, other times I start a painting and then paint it out so that it becomes another painting or nothing at all. If a painting doesn't work, throw it out. When I work from preliminary sketches, I don't just enlarge these drawings, but plan my areas in a large painting by using small drawings for separate areas. I combine them in a final painting, often adding to or subtracting from the original sketches.... There are certain canvases here in my studio - the little one over there – that I've worked on for a good six months – painting most of it out and then painting it over and over again. I think I've got it now.”

Franz Kline (1910–1962) American painter

1958
1960's, Talks with Seventeen Artists, 1962

“I have such a passion for painting! I am continually working at form. In actual drawing and in my head, and during my sleep. Sometimes I think I shall go mad, this painful, sensual pleasures tires and torments me so much. Everything else vanishes, time and space, and I think of nothing but how to paint the head of the resurrected Christ... Or how shall I paint Minkchen [his wife Minna] now, with her knees drawn up and her head leaning on her hand against the yellow wall with her rose, or the sparkling light in the dazzling whiteness of the anti-aircraft shell-bursts in the leaden, sun drenched sky…”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

letter to his first wife Minna, from the front, 11 May, 1915; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 213
1900s - 1920s

“As I admired it [a red pencil and chalk drawing by Degas of a young mother, nursing her child] he showed me a whole series done from the same model and with the same sort of rhythm. He is a draughtsman of the first order; it would be interesting to show all these preparatory studies for a painting to the public, which generally imagines that the impressionists work in a very casual way. I do not think it possible to go further in the rendering of form.”

Berthe Morisot (1841–1895) painter from France

note in Berthe's Journal, Jan. 1886; as quoted in The Private Lives of the Impressionists, Sue Roe; Harper Collins Publishers, New York, 2006, pp. 262-263
Berthe visited Degas in his studio
1881 - 1895

“I had just announced for the first time publicly on a radio show in San Francisco that I had done all the Keane paintings and not my ex-husband. And this, um, Bill Flang of the San Francisco Examiner thought that Walter and I should appear in Union Square and have a paint-off to decide who had done the paintings, since I was—said that I had done them. So, he arranged it, and LIFE magazine as there and all the different newspapers and t. v. stations and they, uh—some of them in the audience played "High Noon"—[laughs] And, of course, Walter didn't show up.”

Margaret Keane (1927) American artist

Interviewed https://www.youtube.com/watch?v=oMK6aBSX2QY on The Mike Douglas Show (1972).
1972

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Paula Modersohn-Becker 55

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