Exhibition Quotes - page 5
![.. in an review of the exhibition in Arti, [in Amsterdam] you say that most of my submissions are not meant as a study. I don't know what you mean by study. I understand a study as a work I am painting directly after nature, with the aim hold on the casual tone, color and line. All of mine that is presented there, is immediately felt in nature and not one of the sketches is done by heart after received impressions for any paintings. I thought I had to tell you this, because then you might get a different view of it - whether you think they are more worthy or not because of this, I don't want to judge.... yours GH Breitner. (George Hendrik Breitner)](https://cdn.quotesdtb.com/img/quotes_images_webp/91/george-hendrik-breitner-aim-849391.webp)
I was in Rotterdam, but the exhibition there was horrible. Le Fauconnier has nothing to tell anymore. He has a dirty color now and has become a real academic. Mondrian is completely frozen, no poetry at all anymore. It's terrible that these people can not reach further with great ideals. To my taste Alma paints far too much naturalistic. A big difference, these three, compared to [Franz] Marc, Kandinsky, Filla etc..
Jacoba van Heemskerck
At Heyser [a pub in The Hague] came the venerable old guys [painters]: Smit-Cranz, Coelman a. o. Those were the bigwigs, you see. We were the revolutionaries. And an opposition that we got! - In 't Kurhaus they hang a poster against us during our first exhibition; they named us 'mud painters'. (translation from original Dutch, Fons Heijnsbroek, 2018)
Willem Maris
[one watercolor] is in spite of all its difficulties, and perhaps because she has given so much trouble, less fresh and has become a little heavy - I myself have considered for a long time whether she was good enough to send it [for a exhibition in Utrecht] (translation from original Dutch: Fons Heijnsbroek)
Willem Roelofs
.. I would like to ask your advice as a friend, namely whether you believe I should submit my painting 'Ouden en Jongen' [Old and Young ones'] to Brussels [exhibition] or not. I thought it was a nice painting, but now I read in the Handelsblad that it is so bad. What is truth about that. Please do me the favor to sent me some words sans facon [straight forward], what is your opinion about this.
Jozef Israëls
I have applied for a pass and I am going to travel through Western Europe for 5 days. [I] start in Cologne and will probably end in Paris. Who cares. In Cologne there is a large exhibition of German painters [especially Die Brücke-artists]. Jan W. [= Jan Wiegers, who knew Kirchner very well since 1920] has been there and animated so much that I'm going there for a while.... it seems that Jan wants to come with me. He was so enthusiastic that I suspect to be able to note him as my traveling companion.
Hendrik Werkman
In October 1945 I returned from America, where I had stayed during the war. I arrived in Le Havre, full of ruins, a carcass of a city. It took one night to reach Paris on a train with no windows. That night I got the idea for the monument. I sketched it on paper and forgot about it, until I visited Rotterdam for the first time in 1947. I saw a city without a heart. I saw a crater in the body of a city. And I remembered that night, the sketches. I made a small terracotta model and sent it to an exhibition of French art in Germany.
Ossip Zadkine
![You [Dutch Zero-artist, Henk Peeters] take the North of Europe, I'll take the South. Switzerland will be our neutral zone where we shall have our common exhibition. (Manzoni's reaction when Henk Peeters accused him of plagiary]. (Piero Manzoni)](https://cdn.quotesdtb.com/img/quotes_images_webp/28/piero-manzoni-accused-common-853128.webp)
Because suffering is the exhibition of the presence in our existence of that which is not under our control, or of the intrusion into our self-legislating existence of an activity operating under another law than ours, it cannot be brought adequately within the spheres of teleological and deontological ethics, the ethics of man-the-maker, or man-the-citizen.
H. Richard Niebuhr
As far as my exhibition concerned [opening was 8 May 1954, in Ghent].... there is however a recent and important painting hanging there 'Man met Boompje' [Man with tree, later titled 'The Gardener] - permettez-moi - with beautiful refracting matters and color: lemon-yellow spots and lacquerish black on white, (face) transparent pure light-blue with a very thin layer glacis over it (in the small wall) and strong-blue painted vertical line. Yellow brown and mauve brush-sweeps with small red dashes over it (for the small tree), and further a lot of beautiful white.
Roger Raveel
I cannot get over the strange conflict between my estimation of their ideas [the artists of Italian Futurism ] most of which I find brilliant and fruitful, and my view of the [their] pictures [he saw on the Walden exhibition in Berlin, Spring 2012], which strike me as, without a doubt, utterly mediocre.
Franz Marc
All the pictures [in the exhibition, 1910] include a plus-factor, which robs the public [in Munich] of her pleasure but which is in every case the principal merit of the work; the completely spiritualized, de-materialized awardness of perception, which our fathers, the artists of the nineteenth century, never even tried to achieve in their 'pictures'. This bold undertaking, to take the 'matiere', which Impressionism sank its teeth into, and spiritualize it, is a necessary reaction, which began with Gauguin in Pont-Aven, and has already fostered innumerable experiments... The way the Munich public condemns the exhibition is almost amusing.
Franz Marc
Among the English, we see on one side an exhibition of grossness and impudence in wickedness, and on the other, we admire their strictness and lofty eminence in that which is good. In that country, interest and conscience measure every thing. There is nothing intermediate between the two motives.In France, on the contrary, the gap between interest and conscience is admirably filled by honour. ... In its origin, honour had for its office to take the place of conscience. Where it was deficient, honour presented itself the heir, the distant relation of conscience. ... But honour itself is becoming weak. ... If this progress continues, it will end by being extinguished. But which will then become the heir of honour? Will it be interest or conscience?
Alexandre Vinet
Here I have been able to make some good spring studies in oils, and managed to finish my 'Cow-girl' and my 'seared Woman', and my 'London Park', Primrose Hill. I think these pictures have improved a great deal from the point of view of unity. How different from the studies! I am more than ever in favour of taking one's impression from memory; it is less the actual thing - vulgarity disappears, leaving only an aura of truth glimpsed, sensed. To think that this is not understood, so that my anxiety for the future continues as before, despite the success of the exhibition. – I have no news from Paris about my collectors.
Camille Pissarro
So it was that my most impressionable years of boyhood were spent gazing at not a whale, but a whale's penis. Whenever I tired of strolling through the chill aisles of the aquarium, I'd steal off to my place on the bench of the high-ceilinged stillness of the exhibition room and spend hours on end there contemplating this whale's penis.
Haruki Murakami
Guyana-Cult of the Damned has crawled out from under a rock and into local theaters, and will do nicely as this week's example of the depths to which people will plunge in search of a dollar. The movie is a gruesome version of the Jonestown massacre of 1978, so badly written and directed it illustrates a simple rule of movie exhibition: If a film is nauseating and reprehensible enough in the first place, it doesn't matter how badly it's made - people will go anyway.
Roger Ebert
