![[After leaving the w:Exposition Universelle (1855) ].. .I went to the Courbet exposition. He has reduced the price of admission to ten sous. I stayed there alone for nearly one hour and discovered a masterpiece in the picture, they rejected [the jury of the official Salon exhibition in Paris]. I simply could not tear myself away from the sight of it.. ..In [Courbet's painting 'The Studio'] the planes are well understood. There is atmosphere, and in some passages the execution is really remarkable, especially the tights and hips of the nude model and the breasts.. .The only fault is that the picture, as he painted it, seems to contain an ambiguity. It looks as though there were a real sky in the middle of the painting. They [The Salon-jury] have rejected one of the most remarkable works of our time, but Courbet is not the man to be discouraged by a little thing like that. (Gustave Courbet)](https://cdn.quotesdtb.com/img/quotes_images_webp/10/gustave-courbet-admission-ambiguity-1004610.webp)
[After leaving the w:Exposition Universelle (1855) ].. .I went to the Courbet exposition. He has reduced the price of admission to ten sous. I stayed there alone for nearly one hour and discovered a masterpiece in the picture, they rejected [the jury of the official Salon exhibition in Paris]. I simply could not tear myself away from the sight of it.. ..In [Courbet's painting 'The Studio'] the planes are well understood. There is atmosphere, and in some passages the execution is really remarkable, especially the tights and hips of the nude model and the breasts.. .The only fault is that the picture, as he painted it, seems to contain an ambiguity. It looks as though there were a real sky in the middle of the painting. They [The Salon-jury] have rejected one of the most remarkable works of our time, but Courbet is not the man to be discouraged by a little thing like that.
Gustave CourbetRelated topics
admission ambiguity atmosphere execution exhibition exposition fault went hour jury leaving man masterpiece middle model nude official painting paris picture price real salon sight sky sous studio tear ten thing tights time well works looks courbetRelated quotes
The news of our health is not good. My wife has been in agony several times, but she is having a little rest now. As for myself, I am better in a certain sense, and worse in another. I have still that feverish blood which runs through me, and which troubles my brain when my pains are most acute. I have again left off work, and again recommenced. Now I can do nothing, and it is killing me... In this we are all warned we must have health for a motto. Therefore, take care of yourself to the end, and do not tire yourself too much. Usually you inscribe my name on the official list for the [Paris] Salon towards the new year, and you will doubtless do it this year. As it is useless to make ourselves enemies in this way, this is what we must do: request Etcheverry to erase mine from the lists or I will send you cards to use as you think best.
Théodore Rousseau
Painting is laying layer upon layer. Without exception it is fundamental to all painted pictures even if they look as if they were done in one movement. The movement has always crossed its own track somewhere. It is easy to understand that a picture is layer upon layer when it comes to Picabia's puzzle pictures or my own material works, but it is difficult with the 'synchronos'. By the 'synchronous' I mean all those pictures where all the layers aim at the same picture, where the under-painting and following layers – glazed or not – fall on top of each other. The 'unsynchronous' are the ones where each new layer is a new picture. It is like geological strata with cracks and discordances. But each new layer, however furious, is always infected and coloured by the underlying one. Even when it is slates where the previous payer is completely removed physically, wiped off.
Per Kirkeby
I do not understand your silence you know all the same how interested I always am in what you are doing. you also know that there are not many of us who understand each other we have always got on well together. I have seen and I see every day how little people like us[. ] Between ourselves there are things we cannot say to others.... you cannot imagine how little I find myself in sympathy with other people....- I do not want to lose another day, one hour this year I have no hope I have lost it and you know how unlike me that is. at the moment I have several studies to do at the Louvre order[s] which are going to bring me many others [p. 2] as soon as this time has passed I want to do two large pictures for the Salon[. ] I think of nothing else... I am becoming more and more the Fantin of the old days you know here I am today but neither discouraged nor bored. I have my own views now nothing can distract me..
Henri Fantin-Latour
Our last call in Zagreb before returning to Washington was on U. N. Secretary-General Boutros-Ghali's senior representative in the former Yugoslavia, Yasushi Akashi, whom I had known since my two visits to Cambodia in 1992. Akashi had been harshly treated by the press and castigated by critics of the U. N. for his weakness. But it was entirely not his fault: he was operating under tight constraints imposed by Boutros-Ghali. Furthermore, Akashi was virtually ignored by General Janvier and the U. N. military. (...) He was leaving Zagreb with his previously distinguished records blemished, but his mission had been doomed from the start beacuse of limits imposed from New York. The United States was delighted with his replacement: Kofi Annan (...), the U. N. official in whom we had the greatest confidence, and his arrival was good news.
Richard Holbrooke
Then we went down to his work room, in the horrible beautiful Merz grotto [the 'Merz-Haus', built by Kurt Schwitters, where broken wheels paired with matchboxes, wire lattices with brushes without bristles, rusted wheels with curious Merz cucumbers... How often did we 'p-lay' in this room! Schwitters called playing, considering the sweat, working. There we glued together our paper pictures, and as I tossed away one of my glued-together works one morning, Schwitters asked, 'You don't like it? Can I have it?' – 'What do you want with this failed piece of toast?' Schwitters took a good look at it and said, 'I'll put what's on top on the bottom, I'll stick a little Merz nose in this corner and I'll sign the bottom Kurt Schwitters.' And, yes indeed, this collage became a wonderful picture by Kurt Schwitters. Schwitters was a wizard, just as Hokusai was a wizard.
Jean Arp
