people-from-amsterdam

"Dutch immigrants, whose descendants now form the population of north-eastern Wisconsin are distinguished by their zealous faith, industry, thrift, and good order."

"Alex made me want to play rock 'n’ roll and was the first “rock star” drummer that I idolized when I was in elementary school. Hell, I dressed up as “Alex Van Halen” two years in a row for Halloween in grades 3 and 4! Alex has always been underrated and that’s always bothered me. He has a fantastic feel and is a unique drummer in the rock 'n’ roll world that should get more credit than he gets. Ask Jim Keltner… he’ll tell you!"

"Let’s start being kind to one another, because only when we join hands will the world become a better place for the both of us."

"[A Hindu] may be a theist, pantheist, atheist, communist and believe whatever he likes, but what makes him into a Hindu are the ritual practices he performs and the rules to which he adheres, in short, what he does."

"Frits Staal reminds us of three special chariots. First, the composer of a hymn describes himself as “he who constructs the high seat of the chariot in his mind” (with reference to 7.64.4). The second instance comes from the famous hymn of the wedding of Sµuryå, daughter of the Sun (Sµurya), which “relates how travels in a chariot made of mind (manas), whether it is to her future husband, immortality or the abode of Soma” (with reference to 10.85). The third comes from a deeply enigmatic dialogue between a (possibly dead) father and his (possibly alive) son; the former tells the latter about “the new chariot without wheels, which you boy have made manaså, which has one draught pole and goes in all directions, standing on it you are seeing nothing” (with reference to 10.135)."

"‘Western civilization […] produced a science of language only belatedly, after being influenced by the Sanskrit grammar of Panini.’ (Staal 1988: 48)"

"As Frits Staal wrote in 1982 in “What is happening in Classical Indology?”, “Some chocolates can only be sold if they are wrapped up in gold- speckled papers. Books about the Rigveda will only be read through the medium of some fashionable theory”."

"‘the notion of “context-sensitive-rule” was not […] recognized as such in Western linguistics until the twentieth century, whereas it had been discovered in India before 500 BCE […] We can now assert, with the power of hindsight, that Indian linguists in the fifth century BCE knew and understood more than Western linguists in the nineteenth century CE. Can one not extend this conclusion and claim that it is probable that Indian linguists are still ahead of their Western colleagues and may continue to be so in the next century?’ (Staal 1988: 48)"

"In 1905 "L'Enseignement Mathématique" started an inquiry into the methods of working of mathematicians. The results of this inquiry augmented and developed later by several authors, for instance Carmichael and Hadamard, can be expressed shortly as follows. The faculty of deduction belongs to the conscious mind, the subconscious being in general only able to perform very simple and trivial deductions. On the contrary the faculty of rearranging is typical of the work of the subconscious and is described by Carmichael as consisting of an extremely rapid passing over of innumerable useless combinations till a vital one or some vital ones rise to consciousness, to bring, after a severe control of the conscious mind, new truth to light."

"Tensor calculus would not exist in its modern form if there had never been a theory of relativity. The ties between these two branches of mathematics and physics are so many that they would fill a big textbook. ... Although the affine invariant form of the electromagnetic equations was not unknown to preceding authors, ... van Dantzig was the first to develop in a long series of publications a consistent theory of relativity which was independent of metrical geometry."

"I certainly learned a great deal from him; especially the combination of algebraic and geometric thinking typical of Klein and Darboux. Our first common publication appeared in 1918; it investigated the connection between geometry and mechanics in the static problems of general relativity. Thus it accounted for the perihelion movement of Mercury, then a crucial test for Einstein's theory, by the change of the metric corresponding to a corrective force."

"In differential geometry conditions of integrability frequently occur, but in the cases usually investigated only the first of these conditions has to be considered. In 1922 ... Eisenhart and Veblen gave a necessary and sufficient condition that a geometry of paths be a Riemann geometry by using a new method of treating the conditions of integrability of higher order."

"The association of racist doctrines with the term “Aryan”, introduced in Western languages as a synonym of “Indo-European”, had as one of its side-effects that after the collapse of Nazi Germany, the entire field of IE studies came under a shadow. Specialists of IE culture were ipso facto suspected of Nazi sympathies. Sometimes this was not altogether baseless, e.g. the Dutch scholar Jan de Vries, whose studies on Germanic and Celtic culture are still standard works, was chairman of the Kulturkammer, the collaborationist institution which controlled the purse strings for all cultural activities under the German occupation of the Netherlands. Under his supervision, Nazi themes were cunningly interwoven with legitimate Dutch or Germanic folklore. Though arguably not a full-blooded Nazi by conviction, he could hardly be considered innocent."

"[A] political equilibrium is neither a gift of the gods nor an inherently stable condition. It results from the active intervention of man, from the operation of political forces. States cannot afford to wait passively for the happy time when a miraculously achieved balance of power will bring peace and security. If they wish to survive, they must be willing to go to war to preserve a balance against the growing hegemonic power of the period."

"There are not many instances in history which show great and powerful states creating alliances and organizations to limit their own strength. States are always engaged in curbing the force of some other state. The truth of the matter is that states are interested only in a balance which is in their favor. Not an equilibrium, but a generous margin is their objective. There is no real security in being just as strong as a potential enemy; there is security only in being a little stronger. There is no possibility of action if one's strength is fully checked; there is a chance for a positive foreign policy only if there is a margin of force which can be freely used. Whatever the theory and rationalization, the practical objective is the constant improvement of the state's own relative power position. The balance desired is the one which neutralizes other states, leaving the home state free to be the deciding force and the deciding voice."

"Nations which renounce the power struggle and deliberately choose impotence will cease to influence international relations either for evil or good."

"Geography is the most fundamental factor in foreign policy because it is the most permanent."

"The facts of location do not change. The significant of such facts changes with every shift in the means of communication, in routes of communication, in the technique of war, and in the centers of world power, and the full meaning of a given location can be obtained only by considering the specific area in relations to two systems of reference: a geographic system of reference from which we derive the facts of location, and a historical system of reference by which we evaluate those facts."

"Plans for far-reaching changes in the character of international society are an intellectual by-product of all great wars."

"[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)"

"I also sold some drawings [he means his watercolors] - the Dutch pieces [he painted in The Netherlands] sell rather well [in Brussels, where he lived then]. People seem to prefer colored drawings here. (translation from original Dutch: Fons Heijnsbroek)"

"That [watercolor] with the Cows has been partially washed out [reducing colors] and that ugly hedge of willow trees has been taken out, and is already doing better, but the paper is not a good quality. I don't know I'll finish it or make a new one. (translation from original Dutch: Fons Heijnsbroek)"

"Although I can look a bit grumpy myself, I love it when the sun shines in the water, but besides that I think my country is colored and what I particularly noticed when I came from abroad: our country is colored sappy fat, that's why our beautiful- colored and built cattle, their flesh, milk and butter, nowhere you can find this, but they [the cows] are also fed by that sappy, greasy and colored land - I have often heard strangers say, those Dutch painters all paint gray and their land is green.. ..the more I observe the more colored and transparent nature becomes and then the air seen altogether, something very different and yet so [strong] in harmony, it is delightful when one has learned to see, because that too must be learned, I repeat, our country is not gray, even not in gray weather, the dunes aren't gray either. (translation from the Dutch original: Fons Heijnsbroek)"

"'An early morning may look superficially gray, but it is not.. ..the dew is much more colorful than one would believe, often so strongly that the palette fails. (translation from the Dutch original: Fons Heijnsbroek)"

"[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)"

"'Peintre Paysagiste des Polders Hollandais', ('Landscape Painter of the Dutch Polders')"

"..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)"

"..every day I can benefit from Mr. B [his teacher, Van de Sande Bakhuyzen ] is another profit.. ..day by day my ambition is growing. (translation from original Dutch: Fons Heijnsbroek)"

"I can not get used to the idea of staying here [in Belgium] always. One stays always a 'stranger' here and I miss the support from each other one has in his own country. I sometimes wonder what will be more my advantage, to be here [Belgium] or with us in The Hague.. .It always seemed to me that it doesn't look very brilliant with us [in The Hague] and I believe to be here [in Brussels] more in the heart of the movements in art, but sometimes I dislike Belgium. (translation from original Dutch: Fons Heijnsbroek)"

"Paint studies of parts, for instance a piece of land, a group of trees or things like that, but always in a way that people can understand these things in relation with the whole landscape, by adding behind that group of trees the air in a right tone color and thereby in connection with the trees.. .Furthermore studies of a whole, preferably very simple subjects - A meadow with horizon and a piece of air to examine further the general tone color, the harmony of the whole.. ..and study nature even more by thinking about it than working after it. (translation from original Dutch: Fons Heijnsbroek)"

"..that one [a tree study in Gabriël's studio] is from my early times; I don't make them that way anymore; look how the thing is painted..; and those days my teachers told me that nothing would come of me in this way. What kind of folks were they? [o.a. his early and short teacher Koekoek, c. 1844-45] And which guys belonged to them? Well, let's keep mum about that; all those guys are dead already. But those days [c. 1840's] it was the ruling idea to use nature only as a tool; she had to be embellished later with imagination and so on .... imagination .... the stupidest thing in the world. (L. de Haes asked him: Do you think imagination is so improper?) Improper, I think it is simply an unhealthy trait. You see; imagination is the proper way to insanity. Imagine that you start painting from your imagination without knowing nature; after all, there will be no result whatsoever. All those people of imagination imagine so much, and it is the greatest misfortune you can have in life, you know what it is good for: to idealize your faults. (translation from the Dutch original: Fons Heijnsbroek)"

"Gabriel lived entirely in an atmosphere of art, and if he seemed to take little interest in what was going on outside, probably his deafness may have contributed somewhat to that. That deafness, however, was a great obstacle to him in the daily companionship with friends and acquaintances, and put him in a relative loneliness in which he preferred to separate himself with art and his nightingales. I still remember very clearly that, during one of my visits, I showed him my surprise to find in his studio singing nightingales. Gabriel replied that he was so fond of those birds, because their singing clearly struck and caressed his sense of hearing. (translation from the Dutch original: Fons Heijnsbroek)"

"I repainted the only unsold picture that was [exhibited] in Rotterdam last year. It seems to me that it looks quite pleasing and good now.. .I want you to ask him [the client] seven hundred guilders.. ..for six hundred as lowest price I would be willing to sell it and if you think - knowing him - it would be better to ask that price at once, so do it. (translation from original Dutch: Fons Heijnsbroek)"

"The drawings [his watercolors] usually succeed in one day or at most two days or they develop difficult and usually don't finish well, then.. ..[I hope] the end will be as good as the beginning. (translation from original Dutch: Fons Heijnsbroek)"

"Hanging beside me is a landscape study by Roelofs, a pen sketch, but I can't tell you how expressive that simple outline is. Everything is in there. english translation of original letter"

"Roelofs puts emotion in his paintings, which can sometimes cause a melancholy in those misty, windy landscapes of the north. 'De oevers van het Gein' ['The banks of the river Gein'] are interrupted halfway [in the painting] and the melancholy is floating through the gray mist which rises from the fields, ploughed with blonde stripes. In this canvas the virile and the refined talent of Roelofs are both completely expressed: the horizon is bathing in the air, the depths are illuminated somewhat transparent, the water clear and shiny, is painted beautifully and the reeds along the banks, together with the bright light are contrasting with that hazy green of the trees. In everything you can feel the nearness of the sea and one can give way to dreamy reflections. (translation from original Dutch: Fons Heijnsbroek)"

"Roelofs used an instrument, which may be called curious for a landscape artist: a compass. With this he first measured very accurately where the horizon had to find its location [in the painting]. Then a line was drawn to determine its place. The air was therefore not started at the top.. .From the horizon the painting was alternately painted above and below the horizon, to maintain proportionality, balance and harmony; air and landscape were then developed from that core. (translation from original Dutch: Fons Heijnsbroek)"

"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)"

"..when making a painting after a study, it costs me a lot of effort to follow this study very well. One is very much inclined to make something different, so-called better, and that's why people usually get confused. A good outdoor-study has a breath of nature in it which must not be neglected or destroyed. You have to get everything out of that study and not just a third or half. If you can really improve one or the other: a la bonheur, but otherwise it is advisable to follow the study obediently as a guide. (translation from original Dutch: Fons Heijnsbroek)"

"..at least I have the conviction of being honest and I do despise most of all those.. ..alienating works of art [eg. of Seurat ], the disease of our time. (translation from original Dutch: Fons Heijnsbroek)"

"Amice, be so good, if it is not too late, to scrape the title 'l'Aprês-Midi' ['Afternoon', title of the work submitted for the exhibition] and simply put on it 'Paysage', for the simple reason.. ..because I chose the moment [in the work] that the sun starts to color and (sic) because there is vapor - many people will wrongly see it as a 'morning'. Mauve will send another aquarelle.. (translation from the Dutch original: Fons Heijnsbroek)"

"I certainly believe that the simple landscape which seems less impressive is the nature that is most proper to paint. (translation from original Dutch: Fons Heijnsbroek)"

"Ships, houses, mills... in one word everything that is made by people must stand upright and be painted with care. This is actually a good presentation compared to other, less symmetrical things, like the trees, skies, etc. It doesn't create the painting, but it certainly strengthen the illusion. It's just like somebody who is neatly dressed, but whose tie is coming off. The windows of a house must be straight, a mill in a pure construction, the blades well-positioned in perspective. (translation from original Dutch: Fons Heijnsbroek)"

"..I wish the Great Master [Nature] will always continue to provide you with benefit. In the meantime, I am assured that you will spent every moment to collect your studies. (translation from original Dutch: Fons Heijnsbroek)"

"Roelofs' 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)"

"..that I went to see Mr Roelofs the day after I received your letter, and he told me that his opinion was that from now on I should concentrate on drawing from nature, i.e. whether plaster or model, but not without guidance from someone who understands it well. And he, and others too, seriously advised me definitely to go and work at a drawing academy, at least for a while, here or in Antwerp or anywhere I could. (translation from original Dutch: Fons Heijnsbroek)"

"..keep working quietly and have faith in what I tell you, never ask how someone else did it or is doing, try to understand nature, observe everything, try to learn to see and find your easiest way to represent it; one can make different choices from nature, follow what the heart tells you, for which you feel the most.. ..search for what contains effect, something what wants to tell clear things. (translation from the Dutch original: Fons Heijnsbroek)"

"Oh, for that matter you must look carefully how in every region of our country the map looks completely different. Not only the pastures have different shades, but the cows are different, yes even the people have, as it were, adopted the character of the soil [where] they were born and raised. That is so evident, that when I still stayed with Roelofs in Brussels [early 1860's] and we used to go to Holland to make our studies in the beautiful part of the season, coming home Roelofs didn't have to tell me where he had been. I recognized it in his work and one by one I called him the spots of our homeland [The Netherlands], where he had made sketches of the countryside and its residents during his study trip. (translation from the Dutch original: Fons Heijnsbroek)"

"(Gabriël advises her to make both big studies and small ones) [and small studies,] ..for throwing in three curses and a sigh - forgive me that corny expression - impressions and transient effects on the canvas. Observe especially the hue of every occurring moment. (translation from the Dutch original: Fons Heijnsbroek)"

"I wonder [interviewer: I hear him saying quite soon] or that line [in the picture he is just working on] doesn't repeat itself. It's more or less the same, isn't it? on both sides, don't you think so? [(interviewer) 'Maybe it is!' - I dare to say; there is no escape; I have to give advice] (translation from original Dutch: Fons Heijnsbroek)"