“With what is he concerned? Drawing was at its lowest ebb; it had to be restored. Looking at these nudes, I exclaim, 'Drawing has come back again!'
As a man and painter he sets an example. 'Degas' is one of those rare masters who could have had anything he wanted, yet he scorned decorations, honors, fortune, without bitterness, without jealousy.”

— Paul Gauguin

Quote of Paul Gauguin, in Avant et après (1903)
1890s - 1910s

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Paul Gauguin 41

French Post-Impressionist artist 1848–1903

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“At the moment I quite often go to draw with Breitner [in the streets of The Hague], a young painter who's acquainted with Rochussen as I am with Mauve. He draws very skilfully and very differently from me, and we often draw types together in the soup kitchen or the waiting room &c. He sometimes comes to my studio to look at woodcuts, and I go to see the ones he has as well.”

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

In his letter to his brother Theo, from The Hague, Monday, 13 February 1882, http://vangoghletters.org/vg/letters/let204/letter.html, from the original letter; location and translation: Van Gogh museum, Amsterdam]]
1880s, 1882

“Where do you draw the line between a humble man who knows his own weaknesses but tries to act out virtues he hasn’t quite mastered yet, and a proud man who pretends to have those virtues without the slightest intention of acquiring them?”

Orson Scott Card (1951) American science fiction novelist

Source: The Tales of Alvin Maker, Alvin Journeyman (1995), Chapter 2.

“What had happened? As he asked himself the question, he knew the answer. That no one had thought fit to tell him! No one! It was a bitter pill for him to swallow. He had been forgotten. Yet he had always wished to be forgotten. He could not have it both ways.”

Mervyn Peake book Titus Groan

Source: Titus Groan (1946), Chapter 69 “Mr Rottcodd Again” (p. 393)

“Without my husband I would never have become a painter, and without me he had probably not become a painter.”

Sina Mesdag-van Houten (1834–1909) Dutch painter

translation from original Dutch: Fons Heijnsbroek

(original Dutch: citaat van Sientje Mesdag van Houten, in het Nederlands:) Zonder mijn man was ik nooit schilderes geworden, en zonder mij was hij waarschijnlijk geen schilder geworden.

Quote in the magazine 'Wereldkroniek', 21 April 1906; as cited on website Panorama Mesdag http://www.panorama-mesdag.nl/ontdek/mesdag/?gclid=EAIaIQobChMI5cO-hZzH3QIVDYmyCh0duwn1EAAYAiAAEgKqIPD_BwE

“To anyone who is not an artist it must seem rather strange that Degas who could do anything — for whom setting down what he saw presented no difficulties at all — should have continued to draw the same poses year after year — often, it would seem, with increasing difficulty. Just as a classical dancer repeats the same movements again and again, in order to achieve a greater perfection of line and balance, so Degas repeats the same motifs, it was one of the things that gave him so much sympathy with dancers. He was continually struggling to achieve an idea of perfect form, but this did not prevent him looking for the truth in what might seem an artificial situation.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: The Romantic Rebellion (1973), Ch. 13: Degas

“Volumes might be written upon the follies and imbecilities of great men. A full rounded man — a man of sterling sense and natural logic — is just as rare as a great painter, poet, or sculptor. If you tell your friend that he is not a painter, that he has no genius for poetry, he will probably admit the truth of what you say, without feeling that he has been insulted in the least. But if you tell him that he is not a logician, that he has but little idea of the value of a fact, that he has no real conception of what evidence is, and that he never had an original thought in his life, he will cut your acquaintance.”

Robert G. Ingersoll (1833–1899) Union United States Army officer

The Great Infidels (1881)

“Before he did all those lovely line drawings, Matisse would make really detailed charcoal drawings and tear them up. He wouldn't leave them about, he thought of them as working drawings. I understand what he was doing: discovering what's there. And then when you come to use line, if you know what you're looking at, it's much easier to make the line meaningful, to find a linear solution to what you want to depict.”

David Hockney (1937) British artist

From a series of interviews with Marco Livingstone (April 22 - May 7, 1980 and July 6 - 7, 1980) quoted in Livingstone's David Hockney (1981), p. 185
1980s

“He [Renoir] is a subtle and brilliant draughtsman.... all these preliminary drawings [in Renoir's studio] would astonish the public who obviously imagine the 'Impressionists' work at tremendous speed. I don't believe one can go further [in making sketches as studies] than this in the study of form in a drawing. I am charmed by his 'Nude Bathers' quite as much as those by Ingres. He [Renoir] tells me that he thinks the nude is absolutely indispensable as an art form.”

Berthe Morisot (1841–1895) painter from France

note in Berthe's Journal, c. 11 Jan. 1886, after visiting Renoir in his studio; in 'Carnet Beige', Morisot Enchantment, Huisman; as cited in Berthe Morisot, the first lady of Impressionism, by Margaret Sehnan; Sutton Publishing (ISBN 0 7509 2339 3), 1996, p. 234
1881 - 1895

“An artist is a deception.... an artist is only an artist at certain times, by an effort of will.... the study of nature is a cliché; isn't Manet the living proof? For although he prided himself on slavishly copying nature, he was the most inadequate painter in the world, not making a single brushstroke without reference to the old masters; for instance, he refrained from drawing fingernails because Frans Hals did not draw them.”

Edgar Degas (1834–1917) French artist

Quote of Degas, in his talk with the visiting Mallarmé, 1880's; as cited in Berthe Morisot, the first lady of Impressionism, by Margaret Sehnan; Sutton Publishing (ISBN 0 7509 2339 3), 1996, p. 234
1876 - 1895

“The one whom I honor most of all is Rembrandt. Rubens and Velasquez painted better than Rembrandt, but he was the greatest of all painters because he was most powerful humanly. His grasp of all things was from within out. He had something that surpassed all other painters-a great humanity. He is perhaps the only one who could have painted the Christ.”

Fritz von Uhde (1848–1911) German artist

As quoted by Gustav Stickley (1911). The Craftsman http://digicoll.library.wisc.edu/cgi-bin/DLDecArts/DLDecArts-idx?type=article&did=DLDecArts.hdv20n06.i0027&id=DLDecArts.hdv20n06&isize=text, Volume 20. United Crafts, p. 631

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Paul Gauguin 41

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