Poets From France

"Back in the days (a later reflection on his early Parish years) when I was in Paris in my studio in 'La Ruche', through the partition I heard two Jewish emigrants arguing: 'Well, what would you say? Wasn't Antokolsky a Jewish artist? And Israels? And what about Liebermann?' The dim light of the lamp lit up my picture, which was upside down (that's the way I work – so consider yourself yourselves lucky!). As morning came, and the Parisian sky started to brighten up, I had to laugh about the futile comments of my neighbours on the fate of Jewish art: 'You two wind-backs can carry on – but I've got work to do'."

"He prepared his charcoal pencils, holding them in his hand like a little bouquet. Then he would sit in a large straw chair and look at the blank canvas or cardboard or sheet of paper, waiting for the idea to come. Suddenly he would raise the charcoal with his thumb and, very fast, start tracing straight lines, ovals, lozenges, finding an aesthetic structure in the incoherence. A clown would appear, a juggler, a horse, a violinist, spectators, as if by magic. When the outline was in place, he would back off and sit down, exhausted like a boxer at the end of a round."

"When I painted Christ's parents I was thinking of my own parents. The bearded man is the Child's father. He is my father. [Chagall stated this in 1950]"

"It's only my town (Chagall was born in Vitebsk), mine, which I have rediscovered. I come back to it with emotion. It was at that time that I painted my Vitebsk series of 1914. (Chagall couldn't go back to Paris because of the outbreak of the first World War in 1914) I painted everything that met my eyes. I painted at my window; I never walked down the street without my box of paint."

"But my knowledge of Marxism was limited to knowing that Marx was a Jew, and that he had a long white beard. I said to Lunatcharsky [the political communist commissar for Education, ca. 1918] 'Whatever you do, don't ask me why I painted in blue or green, and why you can see a calf inside the cow's belly, etc. On the other hand you're welcome: if Marx is so wise, let him come back to life and explain it himself'. I showed him my canvases."

"Two or three o'clock in the morning. The sky is blue. Dawn is breaking. Down there, a little way off, they slaughtered cattle, cows bellowed, and I painted them. I used to sit up like that all night long. It's already a week since the studio was cleaned out. Frames, eggshells, empty two-sou soup tins lie about higgledy-piggledy.. .On the shelves, reproductions of El Greco and Cézanne lay next tot the remains of a herring I had cut in two, the head for the first day, the tail for the next, and Thank God, a few crusts of bread."

"..In spite of everything, there is still no more wonderful vocation than to continue to tolerate events and to work on in the name of our mission, in the name of that spirit which lives on in our teaching and in our vision of humanity and art, the spirit which can lead us Jews down the true and just path. But along the way, peoples will spill our blood, and that of others."

"..No academy could have given me all I discovered by getting my teeth into the exhibitions, the shop windows, and the museums of Paris. Beginning with the market – where, for lack of money, I bought only a piece of a long cucumber – the workman in his blue overall, the most ardent followers of Cubism, everything showed a definite feeling for proportion, clarity, an accurate sense of form, of a more painterly kind of painting, even in the canvases of second-rate artists."

"My grandfather, a teacher of religion, could think of nothing better than to place my father – his eldest son, still a child – as a clerk with a firm of herring wholesalers, and his youngest son with a barber. No, my father was not a clerk, but, for thirty-two years, a plain workman [in the Jewish ghetto of Vitebsk ]. He lifted heavy barrels, and my heart used to twist like a Turkish pretzel as I watched him carrying those loads and stirring the little herrings with his frozen hands.. .Sometimes my father's clothes would glisten with herring brine. The light played above him, besides him. But his face, now yellow, now clear, would sometimes break into a wan smile."

"If a symbol should be discovered in a painting of mine, it was not my intention. It is a result I did not seek. It is something that may be found afterwards, and which can be interpreted according to taste."

"Listen what happened to me when I was in the fifth form (ca. 1904), in the drawing lesson. An old-timer in the front row, the one who pinched me the most often, suddenly showed me a sketch on tissue paper, copied from the magazine "Niva": The Smoker. In this pandemonium! Leave me alone. I don't remember very well but this drawing, done not by me but by that fathead, immediately threw me into a rage. It roused a hyena in me. I ran to the library, grabbed that big volume of "Niva" and began to copy the portrait of the composer Rubinstein, fascinated by his crow's-feet and his wrinkles, or by a Greek woman and other illustrations; maybe I improvised some too, I hung them all up in my bedroom.."

"My works are dear to me, each in its own way, I shall have to answer for them on the Day of Judgement. God alone knows whether I shall ever see them again. Quite apart from the money which I was going to receive for their sale there (exhibition in Gallery Der Sturm, Berlin June-July, 1914) and it is no small sum.."

"The sun has only ever shone for me in France (it certainly did that!). I have got used to beating the streets of Paris, happy beyond words dreaming of a life 125 years long - with the Louvre radiant in the distance. (Chagall couldn't go back to Paris because of the outbreak of the first World War in 1914). Having ended up in the Russian provinces, << I have decided to die >>."

"In response I am sending you some pictures which I painted in Paris out of homesickness for Russia. They are not very typical of me; I have selected the most modest ones for the Russian exhibition."

"'There you are', said Efros [Granovsky, director of the State Jewish Chamber Theater, in 1920], leading me into a dark room, 'These walls are all yours, you can do what you like with them'. It was a completely demolished apartment that had been abandoned by bourgeois refugees. 'You see', he continued, 'the benches for the audience will be here; the stage there'. To tell the truth, all I could see there was the remains of a kitchen.. .And I flung myself at the walls. The canvases were stretched out on the floor. Workmen, actors walked over them. The rooms and corridors were in the process of being repaired; piles of shavings lay among my tubes of paint, my sketches. At every step one dislodged cigarette-ends, crusts of bread."

"For me, Christ has always symbolized the true type of the Jewish martyr. That is how I understood him in 1908 when I used this figure for the first time.. .It was under the influence of the pogroms. Then I painted and drew him in pictures about ghettos, surrounded by Jewish troubles, by Jewish mothers, running terrified with little children in their arms."

"Only the great distance that separates Paris from my native town prevented me from going back.. .It was the Louvre that put end to all these hesitations. When I walked around the circular Veronese room and the rooms that the works of Manet, Delacroix and Courbet are in, I desired nothing more. In my imagination Russia [where Chagall was born] took the form of a basket suspended from a parachute. The deflated pear of the balloon was hanging down, growing cold and descending slowly in the course of the years. This was how Russian art appeared to me, or something of the sort.. .It was as if Russian art had been fatally condemned to remain in the wake of the West. (a later quote on his first arrival in Paris, 1910)"

"I know I must live in France, but I don't want to cut myself off from America. France is a picture already painted. America still has to be painted. Maybe that's why I feel freer there. But when I work in America, it's like shouting in a forest. There's no echo."

"If Russian painters were condemned to become the pupils of the West they were, I think, rather unfaithful ones by their very nature. The best Russian realist conflicts with the realism of Courbet. The most authentic Russian Impressionism leaves on perplexed if one compares it with Monet and Pissaro. Here, in the Louvre, before the canvases of Manet, Millet and others, I understood why my alliance with Russia and Russian art did not take root. Why my language itself is foreign to them. Why people do not place confidence in me. Why the artistic circles fail to recognize me. Why in Russia I am entirely useless.. .In Paris, it seemed to me that I was discovering everything, above all a mastery of technique.. .It was not in technique alone that I sought the meaning of art then. It was as if the gods had stood before me.. .I had the impression that we are still only roaming on the surface of matter, that we are afraid to plunge into chaos, to shatter and overthrow beneath our feet the familiar surface. (reaction on his first arrival in Paris, 1910)"

"I am working in Paris. I cannot for a single day get the thought out of my head that there probably exists something essential, some immutable reality, and now that I have lost everything else (thank God, it gets lost all on its own) I am trying to preserve this and, what is more, not to be content. In a word: I am working."

"Only a child had its place on the cross, and that was enough for me [to paint his Crucifixions, earlier].. ..in the exact sense there was no cross but a blue child in the air. The cross interested me less."

"I would also like, in these notes, to pay homage to that man of incommensurable genius, namely Jules Verne. My admiration for him is boundless. In certain pages of Journey to the Centre of the Earth, Five Weeks in a Balloon, Twenty Thousand Leagues Under the Sea, From the Earth to the Moon, Around the Moon, The Mysterious Island and Hector Servadac, he raised himself to the highest peaks that can be attained by human language. [...] O incomparable master, may you be blessed for the sublime hours which I have spent endlessly reading and rereading your works through my life."

"Je voudrais aussi, dans ces notes, rendre hommage à l’homme d’incommensurable génie que fut Jules Verne. Mon admiration pour lui est infinie. Dans certaines pages du Voyage au centre de la terre, de Cinq Semaines en ballon, de Vingt mille lieues sous les mers, de De la Terre à la Lune et de Autour de la Lune, de l’Île mystérieuse, d’Hector Servadac, il s’est élevé aux plus hautes cimes que puisse atteindre le verbe humain. [...] Ô maître incomparable, soyez béni pour les heures sublimes que j’ai passées toute ma vie à vous lire et à vous relire sans cesse."

"We found a text in a translation of Twenty Thousand Leagues Under the Sea that mentioned Villeroi as the math teacher to Jules Verne. They were from the same city."

"With the vast sweep of his imagination Jules Verne created a whole world of magical things imbued with a delightful naiveté, which just charm us..."

"All my texts were written, directly or allusively, to celebrate (Captain Hatteras's) discovery of the North Pole."

"Jules Verne was in a sense the director-general of my life. When I was not more than ten or eleven years old I read his Twenty Thousand Leagues under the Sea and my young imagination was fired. This generation may have forgotten that Verne was a great scientist as well as the writer of the most romantic fiction of his day."

"Veliká fantazie Julesa Vernea vytvořila svět, kouzelný svět plný rozkošné naivity, která je tolik půvabná..."

"For twenty years, the people who move forward have been doing a Jules Verne."

"(What books did you read as a child?) I read Emilio Salgari, Jules Verne, Charles Dickens, and all the detective novels I could lay my hands on."

"In a very real sense, Jules Verne is one of the pioneers of the space age."

"I would have bartered a diamond mine for a glass of pure spring water!"

"It was Jules Verne who launched me on this trip."

"Almost as influential as my natural penchant was a marvelous book, which impressed and fascinated me more than any other—Jules Verne's Journey to the Center of the Earth. I have re-read it many times, and I confess I sometimes re-read it still, each time finding anew the joys and enthusiasm of my childhood."

"Yes, but water decomposed into its primitive elements... and decomposed doubtless, by electricity, which will then have become a powerful and manageable force, for all great discoveries, by some inexplicable law, appear to agree and become complete at the same time. Yes, my friends, I believe that water will one day be employed as fuel, that hydrogen and oxygen which constitute it, used singly or together, will furnish an inexhaustible source of heat and light, of an intensity of which coal is not capable. Some day the coalrooms of steamers and the tenders of locomotives will, instead of coal, be stored with these two condensed gases, which will burn in the furnaces with enormous calorific power. There is, therefore, nothing to fear. As long as the earth is inhabited it will supply the wants of its inhabitants, and there will be no want of either light or heat as long as the productions of the vegetable, mineral or animal kingdoms do not fail us. I believe, then, that when the deposits of coal are exhausted we shall heat and warm ourselves with water. Water will be the coal of the future!"

"Malheur à qui est seul, mes amis, et il faut croire que l’isolement a vite fait de détruire la raison."

"L’homme n’est jamais ni parfait, ni content."

"Les hommes, Pencroff, si savants qu’ils puissent être, ne pourront jamais changer quoi que ce soit à l’ordre cosmographique établi par Dieu même.'— Et pourtant, ajouta Pencroff, qui montra une certaine difficulté à se résigner, le monde est bien savant! Quel gros livre, monsieur Cyrus, on ferait avec tout ce qu’on sait!'— Et quel plus gros livre encore avec tout ce qu’on ne sait pas, répondit Cyrus Smith."

"Mieux vaut mettre les choses au pis tout de suite, répondit l’ingénieur, et ne se réserver que la surprise du mieux."

"La nécessité est, d’ailleurs, de tous les maîtres, celui qu’on écoute le plus et qui enseigne le mieux."

"Ainsi est-il du cœur de l’homme. Le besoin de faire œuvre qui dure, qui lui survive, est le signe de sa supériorité sur tout ce qui vit ici-bas. C’est ce qui a fondé sa domination, et c’est ce qui la justifie dans le monde entier."

"L’homme qui "sait" réussit là où d’autres végéteraient et périraient inévitablement."

"Quant à voir la ville, il n'y pensait même pas, étant de cette race d'Anglais qui font visiter par leur domestique les pays qu'ils traversent."

"Personne n'ignore que l'Inde — ce grand triangle renversé dont la base est au nord et la pointe au sud — comprend une superficie de quatorze cent mille milles carrés, sur laquelle est inégalement répandue une population de cent quatre-vingts millions d'habitants. Le gouvernement britannique exerce une domination réelle sur une certaine partie de cet immense pays. Il entretient un gouverneur général à Calcutta, des gouverneurs à Madras, à Bombay, au Bengale, et un lieutenant-gouverneur à Agra.'Mais l'Inde anglaise proprement dite ne compte qu'une superficie de sept cent mille milles carrés et une population de cent à cent dix millions d'habitants. C'est assez dire qu'une notable partie du territoire échappe encore à l'autorité de la reine; et, en effet, chez certains rajahs de l'intérieur, farouches et terribles, l'indépendance indoue est encore absolue."

"Hobson constata, non sans une certaine appréhension, que les ours étaient nombreux sur cette partie du territoire. Il était rare, en effet, qu'un jour se passât sans qu'un couple de ces formidables carnassiers ne fût signalé. Bien des coups de fusil furent adressés à ces terribles visiteurs. Tantôt, c'était une bande de ces ours bruns qui sont fort communs sur toute la région de la Terre-Maudite, tantôt, une de ces familles d'ours polaires d'une taille gigantesque, que les premiers froids amèneraient sans doute en plus grand nombre aux environs du cap Bathurst. Et, en effet, dans les récits d'hivernage, on peut observer que les explorateurs ou les baleiniers sont plusieurs fois par jour exposés à la rencontre de ces carnassiers."

"Qu'un Anglais comme lui fît le tour du monde un sac à la main, passe encore; mais une femme ne pouvait entreprendre une pareille traversée dans ces conditions."

"On ne saurait empêcher l'équilibre de produire ses effets. On peut braver les lois humaines, mais non résister aux lois naturelles."

"Phileas Fogg avait gagné son pari. Il avait accompli en quatre-vingts jours ce voyage autour du monde ! Il avait employé pour ce faire tous les moyens de transport, paquebots, railways, voitures, yachts, bâtiments de commerce, traîneaux, éléphant. L'excentrique gentleman avait déployé dans cette affaire ses merveilleuses qualités de sang-froid et d'exactitude. Mais après ? Qu'avait-il gagné à ce déplacement ? Qu'avait-il rapporté de ce voyage ?'Rien, dira-t-on ? Rien, soit, si ce n'est une charmante femme, qui — quelque invraisemblable que cela puisse paraître — le rendit le plus heureux des hommes !'En vérité, ne ferait-on pas, pour moins que cela, le Tour du Monde ?"

"La civilisation ne recule jamais, et il semble qu’elle emprunte tous les droits à la nécessité."

"Voici la conclusion de ce voyage sous les mers. Ce qui se passa pendant cette nuit, comment le canot échappa au formidable remous du Maelstrom, comment Ned Land, Conseil et moi, nous sortîmes du gouffre, je ne saurai le dire."