Paris Quotes - page 6
I will have to leave for Paris as soon as you return. I did two drawings [black on paper] with pen and in little dots - a 'Little Market' and a 'St. Martin (Pig dealers)'. It would be a good thing if I could sell them to some newspaper, that would bring us a few pennies.. .I still don't know what I am going to do, for Heymann seems completely indifferent. He probably knows my position and naturally is waiting for me to reduce my prices, just as Durand did last time.. .If we could place these we could get a few cents while waiting for this terrible month of January to pass.. .These drawings matted look very well.
Camille Pissarro
Notwithstanding all the differences in the aims and tasks of the Russian revolution, compared with the French revolution of 1871, the Russian proletariat had to resort to the same method of struggle as that first used by the Paris Commune - civil war. Mindful of the lessons of the Commune, it knew that the proletariat should not ignore peaceful methods of struggle - they serve its ordinary, day-to-day interests, they are necessary in periods of preparation for revolution - but it must never forget that in certain conditions the class struggle assumes the form of armed conflict and civil war; there are times when the interests of the proletariat call for ruthless extermination of its enemies in open armed clashes.
Vladimir Lenin
After retaining power for two months and ten days, the workers of Paris, who for the first time in history established the Commune, the embryo of Soviet power, perished at the hands of the French Cadets, Mensheviks and Right Socialist-Revolutionaries of a Kaledin type. The French workers had to pay an unprecedentedly heavy price for the first experience of workers' government, the meaning and purpose of which the overwhelming majority of the peasants in France did not know.
Vladimir Lenin
What he's done over the past five years has never, ever been done - and probably will never, ever happen again. Regardless if he won there or not, he goes down as the greatest ever. This just confirms it. Now that he has won in Paris, I think it just more solidifies his place in history as the greatest player that played the game, in my opinion. I'm a huge Laver fan, and he had a few years in there where he didn't have an opportunity to win majors. But you can't compare the eras. And in this era, the competition is much more fierce than Rod's.
Roger Federer
I shall in future be obliged to resign myself to exhibiting them (her paintings) merely at the Grand Salon, Paris, of which I happen to be an Associate and the Salon de Tuileries known all over the world as the representative exhibition of Modern Art, and to which I have been invited to participate in the past, a distinction I may add that few can boast of.
Amrita Sher-Gil
Paris, which for sixty years past has been the City of Insurrections. The French People had plumed themselves on being, whatever else they were not, at least the chosen "soldiers of liberty," who took the lead of all creatures in that pursuit, at least; and had become, as their orators, editors and litterateurs diligently taught them, a People whose bayonets were sacred, a kind of Messiah People, saving a blind world in its own despite, and earning for themselves a terrestrial and even celestial glory very considerable indeed.
Thomas Carlyle
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.
Alexander Calder
At that time (last Spring) I did not consider this medium to be of any signal importance in the world of art; merely a very amusing stunt cleverly executed.... However, wishing to return to Paris, I felt it would be quite justifiable to have an exhibition here, where "clever stunts" are highly appreciated, so I came over 3 months ago and set to work, carving wood and twisting wire. These new studies in wire, however, did not remain the simple modest little things I had done in New York. They are still simple, more simple than before; and therein lie the great possibilities which I have only recently come to feel for the wire medium.
Alexander Calder
And finally I must tell you that I was influenced [in Paris, c. 1912/13] by seeing the work of Picasso, whom I 'greatly' admire. I am not ashamed to speak of his influence, for I believe that it is better to be receptive to correction than to be satisfied with one's own imperfection, and to think that one is O so original! Just as so many painters think. And besides, I am surely totally different from Picasso, as one is generally wont to say.
Piet Mondrian
It was during this early period of experiment that I first went to Paris. The time was around 1910 when Cubism was in its beginnings. I admired Matisse, Van Dongen and the other Fauves, but I was immediately drawn to the Cubists, especially to Picasso and Léger. Of all the abstractionists (Kandinsky and the Futurists) I felt that only the Cubists had discovered the right path; and, for a time, I was much influenced by them.
Piet Mondrian
![[Paris, as modern city] is beautiful in its perfection, but perfection means death and decay. Thus interfering with the process of dying is a crime against perfection: it stands in the way of a higher perfection. (Piet Mondrian)](https://cdn.quotesdtb.com/img/quotes_images_webp/81/piet-mondrian-beautiful-city-302581.webp)
They [Mondrian's friends in Paris, Tonia and Wim Stieltjes] are receptive to the new, although they do not know what it is. Thus I do occasionally feel that my effort has not been in vain. They find the idea of the N. B. [= Dutch: nl:Nieuwe Beelding / Neo Plasticism] sound and quite magnificent, but think that it will be quite a long time before people are ready for it.
Piet Mondrian
In America the architect has a direct and continuing relationship with technology. Perhaps this is why he does not ask more from technology than it can offer. In our country [Russia] it is still impossible to have such urban complexes as are found in Paris, Chicago, or Berlin. It is through technology that we can build a bridge to all the most recent achievements, which is what made it possible for our country to pass directly from the hoe to the tractor without having to travel the long path of historical development. That is why we want to introduce the most modern methods of building and construction into our country - and why we see the works and designs of both the 'formalists' and the 'constructivists' as a radical experiment in the manipulation of construction.
El Lissitsky
[I] Went to Germany to study there and graduated from the architecture faculty in Darmstadt in 1914. I studied art during my trips through Europe; went to Paris. In the summer of 1912 I traveled more than 1200 km in Italy on foot, learning and drawing. In 1912 my works were accepted for the first time at the large exhibition in Petersburg. From 1915 in I lived in Moscow, exhibiting each year.
El Lissitsky
