People From Rotterdam

"What I consider to do with the new course [at The Academy of Art in The Hague] is: in the morning doing large plaster and in the afternoon painting or drawing after Nature, what I am doing already for some time, and [drawing] horses in the Municipal Horse Riding School. The Director is Sir Krüger, a very charming German who has seen of course many horses and so he knows how to show me the mistakes I make, which are not few. (translation from the original Dutch, Fons Heijnsbroek)"

"What wonderful weather it has been today, I had not been outside for so long and so I spent the entire day out of doors. Wonderful. Nature is always fresh and new and to stay fresh she is the only thing giving all that is necessary. Everything is rich. I mean, not only the outdoors, landscape or something like that, but simply everything, yes everything except your workplace, and not even excluding that. 'Le spectacle est dans le spectateur' (the spectacle is in the spectator). (The Hague, 1881)"

"I started reading Flaubert's 'Salambô'. The first chapter was very strong. I prefer Flaubert above Zola, the Concourt even more. No doubt you know the Concourts, Edm. and Jules, two brothers. 'Manette Salomon' is one of their most beautiful creations. If you could read that, I believe you do me and yourself a great pleasure. The type of Chassagnol, the man who understands so much about Art - yes, he has the purest ideas on art of all - I find [him] adorable. He understands everything and that's why he can not be an artist himself or the greatest. I recommend that book to anyone, layman or painter and I will buy it myself."

"My drawings for the art exhibition don't get finished and time is running out. 15 or 16 Dec. I believe. Of course they show soldiers once again and of course the people say that it looks like Neuville, although that man doesn't see any color. (translation from the original Dutch, Fons Heijnsbroek)"

"See the wonderful harmony of emotional colors, that warm white, that greasy metal gray; with notes of dark blue and somber yellow; that reflected-dark, glowing environment with here and there a mat sweep of light.. ..at the exhibitions where it was exposed, it was misunderstood – it was placed in a corner or was hung too high. (translation from the original Dutch: Fons Heijnsbroek)"

"Snow had fallen and from the museum [in Pittsburgh, The ] you had a beautiful view of a valley with a railway, through some sheds, etc. But I could not finish it, and today, Sunday, I went back there again, but then the snow was already so far away that I could not make anything of it any more. It is a pity. Otherwise I could have sold something. [The painting was sold to the Stedelijk Museum Amsterdam in 1934] (translation from the original Dutch, Fons Heijnsbroek)"

"That painting with that man - that drunken man - was first a soup-distribution [on the streets], which I had seen, and for which I also made those studies of which you speak. Also failed; simply due to lack of perseverance. I have made another drawing of it, which V. Wisselingh found quite good and he afterwards sold to an American, and he does not know where it has gone. (translation from the original Dutch, Fons Heijnsbroek)"

"Bosboom has just as anyone else fussed around things [paintings] from time to time to get his money. Only very few people can escape this.. .It is almost impossible that an artist who doesn't have the gift to work for the market as well, will always have to make good things. Because, when he has no money he has to earn it. And he will have to strain himself. For something he appreciates the least of all. He can never neglect this.. .The examples you can see everywhere. If you may write something about him [Bosboom] again, I hope you will take this into account too. (translation from the original Dutch, Fons Heijnsbroek)"

"..but also for the person who is visiting Paris later in his life for the very first time, something unusual will happen.. ..then there appears for the man of age a light - a light in which he sees the dreamy images of his life transforming into more tangible and more solid forms. Because that city has created our modern culture, and the movements of life in most countries are just a reflex of those which are starting in France's capital. (translation from the original Dutch, Fons Heijnsbroek)"

"Hartenstraat - 1 o'clock in the afternoon - the flags throw shadow on the houses"

"Hartenstraat - the air is strong light - houses, illuminated from the top, left - flags translucent (translation from the original Dutch, Fons Heijnsbroek)"

"It is just most delightful to me that I live in this way in the heart of Amsterdam. In a second you can eat somewhere and be back home again. You never have to wait for the tram. It is less than seven minutes [walking] from Dam Square. To me that is so unusual and so pleasant. I walk there daily.. ..the window [of his new studio] is about 2.25 m wide and high, and underneath a standing window of the same size, breadth-wise. (translation from the original Dutch, Fons Heijnsbroek)"

"Dam Square is the center of movement in our city [Amsterdam]. (translation from the original Dutch, Fons Heijnsbroek)"

"I did visit the Breitner exhibition and I enjoyed it very much. A real painter.. .And what a delightful colors, what a richness of wealthy grays and what is everything thrown upon it. Nevertheless I am happy that the world has more faces.. (translation from the original Dutch: Fons Heijnsbroek)"

"Last Saturday it was a rainy evening. I took advantage of that to draw once again the whole evening at Dam Square all over and Sunday I repainted my painting [of Dam square] completely, that yellow nasty color has disappeared now completely. The work has become much broader, and I believe it is really finished now. When my model came, the change struck her so strongly that she said, 'sir, the painting has become beautifully now'. I myself am very happy with it, because I believe it is really good. (translation from the original Dutch, Fons Heijnsbroek)"

"I now have an abundance of models. Every woman I address on the street understands me pretty well. I never experienced anything like that, otherwise they always called me names. It is horrible that I don't have anyone [in Amsterdam] like you, because the only good I have heard about my works came from you. So visit me often. (translation from the original Dutch, Fons Heijnsbroek)"

"I learned from Nol that nowadays you [ Willem Witsen ] are especially engaged upon enlargements [of photos]. I would like to ask you if you perhaps have a piece of moorland (foreground) for me, I would be very grateful to you. Because I am working on a painting with a large foreground. You may have seen it, with that artillery in it. It must be a simple sloping ground. Without much frills of sand - etc. nothing but heather.. (translation from the original Dutch: Fons Heijnsbroek)"

"Recently I dreamed of you [of the artist Herman van der Weele and his wife] and that you two were very rich and lived in a beautiful place and that I sat in your room with you and Herman, with beautiful fabrics and wallpapers that I couldn't stop looking to them and you wore black glasses, just like me now [to protect his eyes], but they [black glasses] were so amazingly beautiful and they suited you so well, as is only possible in a dream, and your dress was beautifully deep red blue black with exotic figures woven into it and the walls were yellow and pink. Anyway it was all a miracle of beauty and I wished that.. ..my eyes were healthy again and that we each could spent hundred thousand guilders a week, then we had built a beautiful yacht and we all sailed to the country of the Mikado [Japan], to have a look there. (translation from the original Dutch, Fons Heijnsbroek)"

"..in an review of the exhibition in [[w:Arti et Amicitiae|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"

"In the works I paint [now] I can't see any guarantee that I shall make progress.. ..while better skilled people [artists] - even though their work does not seem so good at the moment - can move forward much more easily. (translation from the original Dutch, Fons Heijnsbroek)"

"Life is beautiful, and this work is even more beautiful than life."

"Painting is the most beautiful lie."

"The essential thing is to elongate the women and especially to make them slim. After that it just remains to enlarge their jewels. They are ravished."

"His sarcastic images made no attempt to disguise moral and physical defects. Van Dongen created a feminine type that was half drawing-room prostitute, half sidewalk princess; her murky eyes, livid face with blood- red mouth, spindly arms, and exaggeratedly thin body adorned with sparkling jewels and veiled in silk or tulle, or stripped cynically nude."

"A company's success no longer depends primarily on its ability to raise investment capital. Success depends on the ability of its people to learn together and produce new ideas"

"Companies die because their managers focus on the economic activity of producing goods and services, and they forget that their organizations' true nature is that of a community of humans."

"The ability to learn faster than competitors may be the only sustainable competitive advantage."

"There are times when a company’s know-how, product range, and labor relations are in harmony with the world around it. The business situations are familiar, the company is well organized, and employees are trained and prepared. During those times, managers do not need to develop and implement new ideas. Their job is to allocate resources to promote growth and development, channeling capital and people to the parts of the organization best positioned to benefit from the current state of affairs. Those parts of the organization then become larger, better established, and more powerful."

"Some years ago, the planning group at Shell surveyed 30 companies that had been in business for more than 75 years. What impressed us most was their ability to live in harmony with the business environment, to switch from a survival mode when times were turbulent to a self-development mode when the pace of change was slow. And this pattern rang a familiar bell because Shell’s history is similarly replete with switches from expansion to self-preservation and back again to growth."

"To me it was so natural that companies should seek their own survival. I had seen nothing else in my life. Companies struggle to keep going and to grow, for as long as possible."

"Arie de Geus is a former executive with Royal Dutch/Shell who, together with Peter M. Senge, is responsible for the development of the concept of the ‘learning organisation’. In the early 1990s it was Senge, through his best-selling book The Fifth Discipline (1990), who did most to disseminate and popularise the concept. More recently, however, de Geus has produced an important body of writing in his own right, notably The Living Company (1997), in which he takes an organic and holistic view of organisations and closely links their ability to learn with the extent to which they are integrated into their environment."

"It takes Greece forward in the sense that the financial system should be much more stable from now onwards. There is a promise of recapitalization of the banks, without any of the depositors having to bail in or anything to worry about. The process of reversing the negative effects of capital controls will start very quickly and will speedily return the banks to where they were before, hopefully on a far firmer footing. Any deal is only as good as what you make of it. Let's hope the Greek people will be able to make the best of this deal."

"It's a difficult deal, a deal for which only time will show if it is economically viable."

"I made a decision that will burden me for the rest of my life. I don't know if we did the right thing, however I do know that we felt like we had no other choice but do what we did."

"I cannot hide from you that I am quite nervous. I am not taking on this job at the easiest point in Greek history."

"It is a very tough agreement, with many thorns, and as for the question of who will implement it, that depends on who the Greek people trust to negotiate debt restructuring."

"In any transition period there is a clash of realities. In the 1930s people considered the eventual solutions, at first, to be unrealistic. It’s the same this time round. At first, in the euro crisis there was to be no bailout. Then no buying of government debt. Then no QE. Each of these things have happened. Some things which are now seen as unrealistic will change with the political balance of forces."

"The overall framework of the euro zone is in crisis — not from Syriza or the left, but because of the policies of austerity. Unless Europe moves in a more just and socially democratic direction, then it’s in danger."

"It is sometimes easier to circumvent prevailing difficulties [in science] rather than to attack them."

"Whereas the chemico-chemists always find in industry a beautiful field of gold-laden soil, the physico-chemists stand somewhat farther off, especially those who seek only the greatest dilution, for in general there is little to make with watery solutions."

"A famous name has this peculiarity that it becomes gradually smaller especially in natural sciences where each succeeding discovery invariably overshadows what precedes."

"In that year [1874], Jacobus van’t Hoff and Joseph Le Bel added a third dimension to our ideas about organic compounds when they proposed that the four bonds of carbon are not oriented randomly but have specific spatial directions. Van’t Hoff went even further and suggested that the four atoms to which carbon is bonded sit at the corners of a regular tetrahedron, with carbon in the center."

"The worst of all the Multitude Did something for the Common Good."

"Thus every Part was full of Vice, Yet the whole Mass a Paradise; Flatter'd in Peace, and fear'd in Wars, They were th' Esteem of Foreigners, And lavish of their Wealth and Lives, The Balance of all other Hives."

"They put off hearings wilfully, To finger the refreshing fee."

"Vast Numbers throng'd the fruitful Hive; Yet those vast Numbers made 'em thrive; Millions endeavouring to supply Each other's Lust and Vanity."

"If laying aside all worldly Greatness and Vain-Glory, I should be ask'd where I thought it was most probable that Men might enjoy true Happiness, I would prefer a small peaceable Society, in which Men, neither envy'd nor esteem'd by Neighbours, should be contented to live upon the Natural Product of the Spot they inhabit, to a vast Multitude abounding in Wealth and Power, that should always be conquering others by their Arms Abroad, and debauching themselves by Foreign Luxury at Home."

"They that examine into the Nature of Man, abstract from Art and Education, may observe, that what renders him a Sociable Animal, consists not in his desire of Company, Good-nature, Pity, Affability, and other Graces of a fair Outside; but that his vilest and most hateful Qualities are the most necessary Accomplishments to fit him for the largest, and, according to the World, the happiest and most flourishing Societies."

"The poem in itself was not much more than a clever jeu d'esprit, but the Remarks and the Inquiry into the Origin of Moral Virtue, which he published in defence of his thesis, are among the acutest psychological tracts of the age... The passions which produce the effect of virtue are those that spring from pride and the sense of power and the desire of luxury... Such a theory of the passions is a legitimate, if onesided, deduction from the naturalistic philosophy as it left the hands of Locke; the ethical conclusions, it will be observed, have a curious similarity with the later system of Nietzsche. The theory of Mandeville was too violently in opposition to the common sense of mankind to produce much direct influence, but it remained as a great scandal of letters."

"The fallacy of that book is, that Mandeville defines neither vices nor benefits. He reckons among vices everything that gives pleasure. He takes the narrowest system of morality, monastick morality, which holds pleasure itself to be a vice, such as eating salt with our fish, because it makes it taste better; and he reckons wealth as a publick benefit, which is by no means always true. Pleasure of itself is not a vice."