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“What motive had a Dutch painter in painting a picture? None. And notice that he never asked for one. A peasant with a drunken red nose looks at you with his heavy eye and laughs with open mouth showing his teeth, raising a jug; if it is well painted, it has its value.”
Eugène Fromentin (1820–1876) first seen 1876 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote from Les Maitres d'Autrefois / The Old Masters, 1876; 1948, p. 115; as cited in 'Dutch Painting of the Golden Age', http://www.open.edu/openlearn/history-the-arts/dutch-painting-the-golden-age/content-section-2 Op…
“Do not be anxious about [an ordered painting] 'La Ferme' my dear Mr. Hartmann, I am anxious to establish in this picture such a decision deformed, that it may exist, independently of the caprices of the light, and of the influence of the hours of the day. I am regulating it, absolutely as a watchmaker regulates a watch after he has finished it.”
Théodore Rousseau (1812–1867) first seen 1865 wikiquote, CC BY-SA 4.0 source
Recorded in: In a letter to Mr. Hartmann, c. 1865; as quoted in The Painters of Barbizon I – Millet, Rousseau and Diaz, by John W. Mollett, B.A.; publ. Sampton Low, Marston, Searle & Rivington, Limited, London, 1890, p. 81
“My specialty is really painting moonlight – but I will not forget the sunshine.”
Johan Jongkind (1819–1891) first seen 1840 wikiquote, CC BY-SA 4.0 source
Recorded in: Jongkind's quote in an early letter (1840's), to his Dutch friend Eugène Smits; as cited by , in Jongkinds's Universe, Henri Scrépel, Paris, 1976, p. 69
“I have another painting finished, a view near Rotterdam, and then another in process, and very far along. I made them from nature, that is to say I made watercolors [in open air] after which I made my [oil]-paintings.”
Johan Jongkind (1819–1891) first seen 1856 wikiquote, CC BY-SA 4.0 source
Recorded in: In a letter to his Dutch friend Eugène Smits, 22 Nov. 1856; as quoted in Master Drawings from the Yale University Art Gallery, by Suzanne Boorsch, John Marciari; Yale University. Art Gallery, p. 246 - note 7
“I have all my subjects to hand. I go back and look at them. I take notes. Then I go home. And before I start painting I reflect, I dream.”
Pierre Bonnard (1867–1947) said by 1947 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: quoted in Bonnard; by Sarah Witfield and John Elderfield; Harry N. Abrams Inc., New York, 1998 - ISBN 0-8109-4021-3, p. 9
“I respect personality; it is an abstract entitity. A certain number of lines and colors constituting a harmony, can be arranged infinite ways. The literary side in painting is a second element of personality; it may exist – it must exist – but only as a pretext; if it dominates, one fall into the realm of illustration. You see that I do not wish to legislate personality.”
Paul Sérusier (1864–1927) said by 1927 at the latest wikiquote, CC BY-SA 4.0 source
“The science [of painting], although it is not absolutely necessary, never hurts. It obviates much experimentation by trial and error, but one must, above all, not confuse it with skill. The first can be taught; the second [= skill] must not be, and must even be combatted.. .What will necessarily happen to manual skill is.. if one neglects it, it becomes all the more clumsy and personal.”
Paul Sérusier (1864–1927) said by 1927 at the latest wikiquote, CC BY-SA 4.0 source
“I reduced painting to its logical conclusion and exhibited three canvases: red, blue and yellow. I affirmed: it's all over. Basic colors. Every plane is a plane and there is to be no representation.”
Alexander Rodchenko (1891–1956) first seen 1921 wikiquote, CC BY-SA 4.0 source
Recorded in: Rodchenko is looking back: in 1921 he executed what were arguably some of the first true monochromes (artworks of one color; source, Wikipedia:Rodchenko)
“What matters is not what you paint but what your hand dances. The painting is only a notation of the dance of the hand, of the gesture of love.”
John Diamond (doctor) wikiquote, CC BY-SA 4.0 source
“..a revolt against an established order in painting, a revolt against an established order in society, a same spirit of provocation..”
Maurice de Vlaminck (1876–1958) first seen 1900 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of De Vlaminck before 1915; as cited in Derain et Vlaminck: 1900-1915, by Jacqueline Munck and Maïthé Vallès-Bled; catalogue of Lodeve Museum, 2001, p. 23 - ISBN 10: 8820214903 / ISBN 13: 9788820214906
“[Picasso is guilty of] having dragged French painting into the most dismal 'impasse' and of having led it into in describable confusion. From 1900 – 1930, he led it towards negation, impotence and death. All alone with himself Picasso is impotence made man. Nature havinf denied him a real character, all his intelligence and malice have been employed to fabricate a personality.”
Maurice de Vlaminck (1876–1958) first seen 1929 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote from Vlaminck's text 'Portraits', c. 1940-42; as cited in 'Dangerous Corner', Maurice de Vlaminck; transl. after 'Tournant Dangereux, 1929' by Michael Ross]; Abelard-Schuman Limited, New York, 1966, p. 25
“There is only one kind of painting: landscape. It is the most difficult. It has also, I believe, the most simple kind of composition. Because no one can stop us from imagining the world in the way that pleases us most.”
André Derain (1880–1954) first seen 1906 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote from Derain's letter to Maurice de Vlaminck, c. 1906; as cited in 'Report: André Derain's 'Trees by a Lake', by Cleo Nisse and Francesca Whitlum-Cooper, p. 5
“If I paint a girl in the sunlight, it's the sunlight I am painting, not the real girl; and even for that I should have the sunlight on my palette. I don't care for an accidental effect of light and shade, a thing of 'mere charm'.”
André Derain (1880–1954) said by 1954 at the latest wikiquote, CC BY-SA 4.0 source
“our Goddess [how painting is going] is sometimes so erratic, just when you want to speak to her, she is hiding and if you did not immediately think of her, she comes to give hanks incessantly and is so kind, anyway - we shall see.. (translation from original Dutch, Fons Heijnsbroek, 2018)”
Anton Mauve (1838–1888) first seen 1884 wikiquote, CC BY-SA 4.0 source
Recorded in: In a letter to Willem Witsen, from The Hague, 28 Dec. 1884?]; original copy from website DBNL; location of resource: Koninklijke Bibliotheek, Den Haag: no. KB75 C51
“I am busy working on a large painting with sheep; the last days I am working with real pleasure, the weather is.. ..not too hot and with nice skies. It's great here!!!! I shout with joy the whole day and more and more I desire to stay here until the end. (translation from original Dutch, Fons Heijnsbroek, 2018)”
Anton Mauve (1838–1888) first seen 1885 wikiquote, CC BY-SA 4.0 source
Recorded in: In a letter of Mauve, from Laren 1885, to his student , as quoted by Arina Hugenholtz in In Memoriam Anton Mauve; as cited in Van IJs naar Sneeuw - De ontwikkeling van het wintergezicht in de 19de eeuw, Arsine Nazarian,…
“Hereby I send you back the 'Winter' [a painting]. I hope you will be better satisfied now. After alternately smashing away and adding on the cart some new figures, finally this one climbed up, which I hope will do better than its predecessors.. (translation from original Dutch, Fons Heijnsbroek, 2018)”
Anton Mauve (1838–1888) said by 1888 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: Quote in a letter to Goupil in The Hague; as cited by R. Tervaert & C. Stolwijk, in ‘’De fabriek: Anton Mauve en zijn handelaren’’, 2009, p. 139
“It certainly will please you to read that after my small painting ['First Love', c. 1856] what you have seen in Rotterdam, a large lithography is being made now by Lord Mouilleron, France's first lithographer.. .It becomes very beautiful. (translation from original Dutch text: Fons Heijnsbroek).”
Jozef Israëls (1824–1911) first seen 1856 wikiquote, CC BY-SA 4.0 source
Recorded in: version in original Dutch (citaat uit de brief van Jozef Israëls in het Nederlands): Het zal u zeker plaisier doen te vernemen dat naar mijn schilderijtje ['Eerste Liefde', c. 1856] welke gij in Rotterdam gezien hebt ee…
“I take advantage of a painting that I now have at the Paris' exhibition. 3 orphan girls who are sewing in an interior room. I have sold [it] there for a nice price and have heard some interesting reviews published about it. (translation from the original Dutch: Fons Heijnsbroek)”
Jozef Israëls (1824–1911) first seen 1866 wikiquote, CC BY-SA 4.0 source
Recorded in: In a letter to A.C. Vosmaer, June 1866; ARA - Tweede afdeling, Archief Vosmaer, input no. 249
“That is always difficult [making a repetition of an sold painting] and can only become a potboiler. (translation from the original Dutch: Fons Heijnsbroek)”
Jozef Israëls (1824–1911) first seen 1876 wikiquote, CC BY-SA 4.0 source
Recorded in: In a letter, 13 Dec. 1876, to art-sellers Pilgeram & Lefèvre in London; Foundation Custodia, Paris,input no. 1971-A.506
“..the owner [of the painting 'When one grows old', 1883].. ..had to hear a lot of comments about it, they called it the apotheosis of a cape, the figure much too big for the frame, etc. etc. [deleted by Israëls:] so they advised him to exchange it for one of my other works. (translation from the original Dutch: Fons Heijnsbroek)”
Jozef Israëls (1824–1911) first seen 1883 wikiquote, CC BY-SA 4.0 source
Recorded in: version in Dutch (citaat van Jozef Israëls, in het Nederlands): ..de eigenaar [van het schilderij 'Als men oud wordt', 1883].. ..moest er veel over hooren, men noemde het de apotheose van een schoudermantel, de figuur v…
“The old clothing-jew [ in his painting: 'Son of the Old People', 1889 ] I made, was a Jew. But not because he was a Jew I painted him [Israëls was a Jew himself] -.. ..a painter paints like a painter and not because he is a Jew.. (translation from Dutch: Fons Heijnsbroek).”
Jozef Israëls (1824–1911) first seen 1889 wikiquote, CC BY-SA 4.0 source
Recorded in: version in Dutch (citaat van Israëls, in het Nederlands) Die ouwe kleerejood [ in zijn schilderij: 'Zoon van het Oude volk', 1889 ]van mij was 'n jood. Maar niet omdat 't een jood was heb ik hem geschilderd [Israëls was…
“Is there a difference between a Jewish sea and a non-Jewish sea? What is a Jewish way of painting? (translation from Dutch: Fons Heijnsbroek)”
Jozef Israëls (1824–1911) first seen 1910 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Israëls in a talk with N. Sokolov, c. 1910's; published in Ishim part 3. by Sokolov (written in Hebrew); Tel Aviv, 1935, pp. 151-169
“Our trips in Drenthe [in 1878-79] he [ Johannes Warnardus Bilders ] enjoyed a lot, but Vorden and especially Oosterbeek remained the places he loved most. Drenthe was too new for him. The most beautiful painting he made of it were 'the Hunnebeds', a fusain in my possession. He found back again Hobbema everywhere. (translation from Dutch, Fons Heijnsbroek).”
Marie Bilders-van Bosse (1837–1900) first seen 1878 wikiquote, CC BY-SA 4.0 source
Recorded in: version in original Dutch (citaat uit een brief van Marie Bilders-van Bosse, in het Nederlands:) Van onze togten in Drenthe [ 1878-79] genoot hij [ ] veel, doch en vooral bleven zijn hoofdpunten. Drenthe was hem te nieu…
“Every day I make more progress in technique: understanding of color, the material and the line. [I] can even give better theoretical explanations. And moreover, gradually I live more and more connected with the matter of the profession. What I mean is that my thinking and feeling are more directly, more fundamentally connected with painting itself. No longer so much thinking and feeling get lost.”
Roger Raveel (1921–2013) first seen 1947 wikiquote, CC BY-SA 4.0 source
Recorded in: letter to his friend Hugo Claus, from Machelen aan de Leie, 5 March 1950; as cited in Hugo Claus, Roger Raveel; Brieven 1947 – 1962, ed. Katrien Jacobs, Ludion; Gent Belgium, 2007 - ISBN 978-90-5544-665-0, p. 118 (trans…
“I used to paint some things a few times, but I stopped, because I didn't get an answer. If the work has nothing to say to somebody else, I quit. I am not an idiot who is talking to himself and gazing at the tip of his brush. Painting you do together. (translation, Fons Heijnsbroek, 2018)”
Jopie Huisman (1922–2000) said by 2000 at the latest wikiquote, CC BY-SA 4.0 source
“It's all about the atmosphere of nature, for sure, but I want the painting to arouse clarity, cheerfulness. When it is finished, then I have to live with it, that's why it must become a pleasant thing. Sun. Clarity. Never white-black, because there are so many shades in between! (translation from Dutch: Fons Heijnsbroek, 2018)”
Gerrit Benner (1897–1981) first seen 1967 wikiquote, CC BY-SA 4.0 source
Recorded in: quoted by Hans Redeker (before 1967), in Gerrit Benner; Meulenhoff, Amsterdam, 1967; as cited by Susan van den Berg in 'Benner en Bregman', website 'de Moanne', 1 Sept. 2008, note xx
“A painting is good if it is not finished. Just like ideas. Finished ideas are dead.. .Everything is floating, just as in life – also life will never get ready. (translation from Dutch: Fons Heijnsbroek, 2018)”
Gerrit Benner (1897–1981) first seen 1850 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Gerrit Benner, in: Gerrit Benner, G. Westenberg en E. van Dooren , Harlingen 2005, p. 4; as cited in Lucht in de Nederlandse kunst sinds 1850, Antoon Erftemeijer; catalogue of Frans Halsmuseum Haarlem, 2014, p …
“The fellow is whimsical and varys his prices every day; and he that has a mind to have any of his works must not seem too fond of it, for he' be ye worse treated for it both in price and painting too.”
Owen Swiny (1676–1754) said by 1754 at the latest wikiquote, CC BY-SA 4.0 source
“Cheerfully and cheerily, I started working once more in giant steps to the second painting by Mr Twent. [of the , then owned by Abraham Jacob , who wanted his estate immortalized in two large paintings] (translation from original Dutch: Fons Heijnsbroek)”
Andreas Schelfhout (1787–1870) first seen 1823 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote from Schelfhout, in a letter (with sketched figures) to an unknown friend, 21 Feb. 1823; as cited in Andreas Schelfhout - landschapschilder in Den Haag, Cyp Quarles van Ufford, Primavera Pers, (ISBN 978-90-5997-06…
“As far as I can remember, it was before my twelfth year that I was sketching cows in the mornings before and afternoons after school, and because my brothers were 4 and 6 years older than me – naturally I got from them my first teachings in drawing and later in painting. (translation from original Dutch, Fons Heijnsbroek, 2018)”
Willem Maris (1844–1910) first seen 1850 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Willem Maris, in his letter in 1901; as cited in 'Zó Hollands - Het Hollandse landschap in de Nederlandse kunst sinds 1850', Antoon Erftemeijer; Frans Hals museum | De Hallen, Haarlem 2011, p. 36
“a couple of days afterwards I was sitting somewhere and painting - when one of these braggarts came up behind me. Well, hey, when you're young, you don't think that's very nice. And suddenly the guy throws his arms around me and roars: 'I sit here all day long plodding away with a pencil - scratching and scratching - and you get it right away!' It was ...Mauve.”
Willem Maris (1844–1910) said by 1910 at the latest wikiquote, CC BY-SA 4.0 source
“A painting is finished when one can see what it represents. (translation from original Dutch, Fons Heijnsbroek, 2018)”
Jacob Maris (1837–1899) first seen 1898 wikiquote, CC BY-SA 4.0 source
Recorded in: as cited by G.H. Marius, in 'Jacob Maris', in Het Schildersboek. Nederlandsche Schilders der Negentiende eeuw, Amsterdam 1898, p. 11
“There's a track called 'Why' that I really like. It's in the rock style again and I'm very satisfied with the lyrics. I wrote it after looking at a painting which had lots of things going on at the same time. Another song I really like is called 'I Still Love', because it's a little bit harder than the other ones.”
Basshunter (born 1984) first seen 2009 wikiquote, CC BY-SA 4.0 source
Recorded in: DigitalSpy interview with Alex Fletcher (7 September 2009)
“[to mr. L. de Haes] Well, go upstairs, you know the way; are you going to take a look? At the moment you will not find many special things, but you find always something; and then we have another chat, anyway. Go ahead, I'll follow you; beware of entering because there is a large painting just in front of the door. (translation from the Dutch original: Fons Heijnsbroek)”
Paul Gabriël (1828–1903) first seen 1893 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Gabriël, 1893; as cited by L. de Haes, in 'P.J.C. Gabriël'; published in Elsevier's geïllustreerd maandschrift 3., April/May 1893, pp. 453-473
“..it is a masterpiece [painting of Barend Cornelis Koekkoek: 'View on the Woods' 1839, with sizes 176 x 160 cm], a well-executed brave undertaking to imagine something like that on a large scale with such an elaborateness. (translation from original Dutch: Fons Heijnsbroek)”
Willem Roelofs (1822–1897) first seen 1839 wikiquote, CC BY-SA 4.0 source
Recorded in: (original Dutch: citaat van Willem Roelofs, in het Nederlands:) ..het is een meesterstuk [groot schilderij van : 'Boschgezicht' 1839, 176 x 160 cm], een welgelukte stoute onderneming om op die schaal met die uitvoerighe…
“My sketch [in watercolor, made in 1861] represents the Hunebed in Tinaarlo in Drenthe, which I drew a few years ago; I have still the intention to paint it [oil-painting after, after his watercolor].. (translation from original Dutch: Fons Heijnsbroek)”
Willem Roelofs (1822–1897) first seen 1861 wikiquote, CC BY-SA 4.0 source
Recorded in: (original Dutch: citaat van Willem Roelofs, in het Nederlands:) Mijn schets [aquarel, in 1861 gemaakt] stelt het Hunnebed voor te Tinaarlo in Drenthe, dat ik voor eenige jaren teekende en nog altijd van plan ben te schi…
“I have experienced this country of the great mountains [Switzerland] superb! .. ..[but] I positively believe that nature, most appropriate to be reproduced in painting, is the modest landscape which seems just ordinarily and very insignificant. (translation from original French: Fons Heijnsbroek)”
Willem Roelofs (1822–1897) first seen 1822 wikiquote, CC BY-SA 4.0 source
Recorded in: In a letter, 1894; as cited in Willem Roelofs 1822-1897 De Adem der natuur, ed. Marjan van Heteren & Robert-Jan te Rijdt; Thoth, Bussum, 2006, p. 19 - ISBN13 978 90 6868 432 2
“No, absolutely not, I have never been what one calls a gifted child, never a dreamer. I didn't think of making fantasies with the pencil on the paper, although at school we learned to draw and play music of course. But in those days the piano was actually what I preferred most.. .But until my eighteenth year I have been hesitating long between both [painting and playing piano]..”
Suze Robertson (1855–1922) said by 1922 at the latest wikiquote, CC BY-SA 4.0 source
“Although teaching in the class is so terribly tiring.. .I continued my work perfunctorily in a way that nobody could notice it. Because I lived with that firm intention: in a few years I will start painting. And I saved for this by being as sober as possible with everything.”
Suze Robertson (1855–1922) said by 1922 at the latest wikiquote, CC BY-SA 4.0 source
“..[that] the landscape will become directly or indirectly an object of study for me.. (a month later:) ..So I have planned the project – already my intention for some years, as you know - I (almost) finished the painting of Woudsterweg.. .There you have it already.. .a landscape, Amice. (translation from original Dutch: Fons Heijnsbroek)”
Jan Mankes (1889–1920) first seen 1912 wikiquote, CC BY-SA 4.0 source
Recorded in: 2 quotes of Jan Mankes in two letters in 1912, to his maceneas A.A.M. Pauwels in The Hague; as cited by J.R. de Groot in 'De bekoring van het gewone - Het werk van Jan Mankes', p. 103
“Besides, the entire impressionism usually presented merely the things from the outside. And sometimes they did it so perfectly that a seventeen[the] century painting looks clumsy, as far as seeing is concerned.”
Jan Mankes (1889–1920) first seen 1877 wikiquote, CC BY-SA 4.0 source
Recorded in: In a letter to A.A.M. Pauwels in The Hague, 6 March 1913; as cited in Jan Mankes – in woord en beeld, ed. Sjoerd van Faassen; Museum Bèlvédère, Heerenveen, 2015 ISBN 1877-0983, n. 22, p. 28
“Roelofs' [his teacher then] advice is to paint rather thick, that is to say firmly in the paint and use this preferably without any oil or turpentine.. .I hope you will understand it well, not thick in color, because he [Roelofs] only achieves that haze and the strength of colors by painting it over repeatedly. (translation from original Dutch: Fons Heijnsbroek)”
Hendrik Willem Mesdag (1831–1915) first seen 1867 wikiquote, CC BY-SA 4.0 source
Recorded in: In a letter of Hendrik Willem Mesdag [Roelof's student then in Brussels], 7 Jan. 1867 to ; Museum Mesdag, Archive, The Hague
“Dear Lords, I hereby have the Honor to announce You that the painting 'Het Binnen komen der Haringschuiten in Scheveningen' has been sent today to your address, for your upcoming Exhibition [in Arti, Amsterdam]. The price is f 2500-. I also declare to stay out of competition for the medal. Yours sincerely HW Mesdag. (translation from original Dutch: Fons Heijnsbroek)”
Hendrik Willem Mesdag (1831–1915) first seen 1882 wikiquote, CC BY-SA 4.0 source
Recorded in: In a letter of H.W. Mesdag, from The Hague, 7 Oct 1882, to Commiss die van Beheer of 'Arti et Amicitiae' in Amsterdam; from the original text in Dutch R.K.D. Archive, The Hague
“..at home [in Brussels, 1869] I was messing around all winter long with a painting; it was a coast, but painted so primitive. Then I said: you must see the sea in front of you, every day, you have to live with it, otherwise it doesn't work. Then we went to The Hague. (translation from original Dutch: Fons Heijnsbroek)”
Hendrik Willem Mesdag (1831–1915) first seen 1869 wikiquote, CC BY-SA 4.0 source
Recorded in: (original Dutch: citaat van Hendrik Willem Mesdag, in het Nederlands:) ..thuis [in Brussel, 1869] had ik een heelen winter aan een werkstuk zitten scharrelen; 't was een kust, maar zo naiëf geschilderd. Toen zei ik: je …
“And you know, if my wife haven't said some forty years ago: do it, let's go to Brussels to study painting, [with a. o. Willem Roelofs ], then I probably would never have left my business [in banking]. (translation from original Dutch: Fons Heijnsbroek)”
Hendrik Willem Mesdag (1831–1915) first seen 1906 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Mesdag; as cited by , in his article 'Onder de menschen. Een gouden schilders-bruiloft', in Nieuwe Rotterdamsche Courant', 11 March, 1906
“What I've made there - about some years ago, you will never see that again! It's all over; with Scheveningen it's finished. And when I didn't still know everything about the past from those sketches, indeed it [his painting] was definitely over. (translation from original Dutch: Fons Heijnsbroek)”
Hendrik Willem Mesdag (1831–1915) first seen 1906 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Mesdag, as cited by , in his article 'Onder de menschen. Een gouden schilders-bruiloft', in Nieuwe Rotterdamsche Courant, 23 March 1906
“.Now nicely going on to work [painting] and much more free, and in particular more flowing. I hope to grow away from that rigid stuff. (translation from original Dutch: Fons Heijnsbroek)”
Charley Toorop (1891–1955) first seen 1939 wikiquote, CC BY-SA 4.0 source
Recorded in: In a letter to her son Eddy Fernhout, 7 Feb. 1939; as cited Charlie Toorop – Leven en Werken, Nico J. Brederoo; Meulenhoff/Landshoff, (ISBN 90 290 8142 2), 1985, p. 133
“Vincent van Gogh was already there for me even before I started painting myself, actually during the time I became aware. It was the first dispute with my father [ Jan Toorop ] who saw it so differently, for me he was the breakthrough to a new world. It is always a real event to see his work.. (translation from original Dutch: Fons Heijnsbroek)”
Charley Toorop (1891–1955) first seen 1953 wikiquote, CC BY-SA 4.0 source
Recorded in: her statement in 1953, published in the exhibition catalog, 'Eeuwfeest, Vincent van Gogh', Kröller-Müller museum, Otterlo, 1953
“I really like painting on unusual base, such as zinc plates, which are already exposed to rain. These are old plates, consumed by time and weather. I paint very subtle paintings on such a ground. On the other hand, paintings on a sponge, which may seem harsh in terms of subject matter – are, contrary to appearances, very soft and pleasant. For instance, it is enjoyable to move and hang them.”
Tomasz Vetulani (born 1965) first seen 2017 wikiquote, CC BY-SA 4.0 source
Recorded in: There is no threat. Weapons and colour, video, Galeria Olympia, 23 November 2017 (in Polish)
“..[I] will now work on the painting 'The bitch in Heat', I have studies of the subject for a long time already. Actually it can better be called 'The fight therefore', because in the composition in the background three large dogs have a furious fight together. (translation from original Dutch, Fons Heijnsbroek, 2018)”
Herman Kruyder (1881–1935) first seen 1934 wikiquote, CC BY-SA 4.0 source
Recorded in: Kruyder in a letter to art-critic , May 1934, in the RKD Archive, The Hague