Marguerite Zorach

"When my aunt informed me that we lived in the famous Latin Quarter, I experienced a little shock of surprise. When I discovered the size of the Latin Quarter, there was another surprise, and an even greater one when I realized that in this awful Quartier Latin were the great universities and Art Schools of France; the lovely old Luxembourg garden with the Medici Palace now used as the Senate Chamber; the Pantheon, the Westminster Abbey of France; the old Cluny Palace with its hoary relics and ruined walls; and on through a long list of less celebrated but equally interesting places. It is the Student Quarter of Paris, more foreign than French, alive with Russians, Poles, English and Americans. [...] Here you will find living side by side, the girl whose father has made a fortune in oil and has sent his daughter abroad to finish her education and the little girl from Australia who has saved up her pennies for years that she might come and study painting in Paris and who lives in a bare little room, hardly knowing where her next meal will come from, but trusting the God of the Quarter, "Luck." There is a more democratic spirit here in the midst of this undemocratic people than we find in America itself. E veryone meets on the common ground for work, the only aristocracy is that of ability and success. Each one is here for a purpose; the air throbs with industry, enthusiasm and genius. Iris most inspiring; you meet so many who are so much more advanced than you that their attainments are something to look forward to, so many whose work is so far below your standard that you feel you have something to start with and are not discouraged (Burk, 90-91)."

"I cannot say that I was very enthusiastic upon my first visit to the market. As an insight into a certain phase of French life it was most interesting, but I did not relish the idea of buying there, even if the vegetables were much fresher and more reasonable than in the stores. The European custom of displaying all manner of eatables on the street, unprotected from the dirt and dust, and even handling by the passers-by, was new and not at all pleasing to me. I had a feeling that everything was dirty, especially the people. Since then I have become acclimated and resigned to the fact that France and dirt are inseparable (April 18, 1909, 17)."

"I remember reading not long ago in a San Francisco paper how the girls of this [...] American Girls' Art Club had astonished all Paris by taking long tramps and sketching expeditions into the woods of France unchaperoned. Astonished all Paris! Why Paris never even raises an eyebrow when we bold artists brave the dangers of her forests and suburbs all alone. As is a favorite custom of girls here, I have even sketched down along the Seine among the roughest class of workmen and tramps and was never more courteously treated anywhere (Burk 2008, 89-90)."

"The Salon of French Artists is recognized as the most difficult in which to gain entrance of any of the several held there each year. That two Fresno girls and no less than eleven native Californians have presented specimens which the discriminating French critics considered worthy of acceptance, is a recognition of the highest standard of art in California never before accorded in Paris (3)."

"Since pictures such as mine are so different from the pictures people are used to framing, it isn’t really strange that they should require different treatment. White not being a color (as is gold) forms the best frames for pictures high in key and in pure color, as it does not destroy the balance of color in the picture and brings out each color in its fuller intensity. Black is next best, I think."

"Although some members of the public misunderstood and even ridiculed her work, Marguerite seemed unaffected. She was brave and clear about who she was and what she believed. She also had William's full support, and they continued to paint in the same studio, helping each other with canvases, with ideas, with promoting their paintings. Although they struggled financially, these were rich, exciting years, and their collaboration nurtured them both. They exhibited paintings in their studio as well as at galleries, and they were at the center of the avant-garde community of American artists in New York (Kennedy 97)."

"I have no artistic creed or formula. I have no fixed aim to which I am bending every energy. I have made no wonderful or new artistic discovery. Perhaps I have not even a new vision…In so far as my life is rich in emotional and intellectual experiences, actual or in imagination, in so far as I seek for a deeper and more comprehensive grasp of things, in so far I shall have material from which to create."

"We survived these years by never spending a cent on anything that was not essential...we saw that there was always money for materials...we made our own canvases...used the stretchers over and over, rolling up the finished pictures. When desperate we painted on both sides of the canvas (cited in Colleary 24)."