painters-from-the-netherlands

"..[ Constant Permeke's] coloration, monumentallity and bewildering deformations of human physical and psychic properties.. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Only now I see what I am capable of and I don't understand that I have been able to make this canvas in my small front room [1928, in Blaricum]. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"In this painting ['Pan' ] K. demonstrated a broader paint stroke and an enrichment of color. - 'Pan' was followed by a still life, a flower-piece; both works were included in my collection and placed in my studio in such a way that the flower-piece stood in front of 'Pan'. When Kruyder saw this particular method of placement, it inspired him to paint another still-life [another flower-piece], with the consequence that 'Pan' formed together with these two floral paintings - of which the artist called the one female and the other male - a kind of triptych."

"At the moment we are [Kruyder and his wife Jo Bouman] back in L. [Limburg] in Houthem St. Gerlach, already a fortnight. I collected already [sketching] a lot here. We left when it was not yet spring - just to see everything coming out against those beautiful hilly fields. That Country of Bemelen is so beautiful, I have made jottings [sketches]. Before that I made a very important drawing. A young Limburger [inhabitant].. ..especially from that subject I wanted to make a deeper psychological study now. I am not quite ready for that yet, but that is a nice goal of my trip, to look closely into that matter once more. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Herman made a very nice drawing before we left [to Limburg ], very quiet and white, a white neighing horse with the legs standing out, together with a small dark figure, a single white house and then everything is gray, something special .. ..We must be very careful and always have that fear with him for a repetition of that illness [heavy depression of Kruyder in 1926 and a mental breakdown in 1929, which continued to repeat almost annually]. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"..a man who paints a cat in poisonous green, just sitting around, twiddling one's thumbs on a cheese-yellow road in a blue meadow, or who doesn't put a pot of flowers on but nearby the table.. ..is a too easy target for mockery.. .. such a bright painter, making such curious things.. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"I was done justice and I appreciated it. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"During the eight years [1927 - 1935] that I could follow from very nearby the development of Kruyder's oeuvre, he made in that period, except for a few large and small drawings, watercolors, etc.. ..up to 30 paintings. Kruyder's nervous system didn't allow him to work constantly; that happened only in the morning and in the afternoon he rested."

"I paint my own conflicts through the animals."

"Now I am not a supporter of a contract. [Regnault will become the owner of all the new works of Kruyder by paying fixed amounts] But in these circumstances that I have now ended up in - temporarily I hope - it would be very welcome. Then at least I can work quietly in this misery just at the moment when I almost reached the top of the mountain. You will receive all my new works for that, and if necessary.. ..a choice from my older work. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"It is my intention, never to start with modeling directly [in the painting]. In my view this is the task of the sculptor. I am modeling 'the surfaces'. Not only concerning the volumes, but also concerning the flat hues, in which I try to achieve the most subtle distinctions. I don't care for external effects. It is always the high values of the surfaces which create the painting. I always get an unbelievable rich variety of facets. Not only the colors, which thereby preserve its power, but also the color-hues are clearly distinguished from each other by no other means than the brush-stroke. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"..[I] will now work on the painting 'The bitch in Heat', I have studies of the subject for a long time already. Actually it can better be called 'The fight therefore', because in the composition in the background three large dogs have a furious fight together. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"It sounds rather strange that one's own teacher-ship would bring someone to great things.. ..but Kruyder explained to me that while teaching and walking up and down behind the drawing and painting easels of his pupils [c. 1926 - in his atelier in Heemstede, Kruyder was 35 years old), because of the busy activity of the others, he felt his own will encouraged as it were, to achieve as much as possible of those great things which were then already stirring in the inside, and to render them in personal imaginations. It was then that he really started painting definitely.. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"It must be emphasized that these paintings [ the Calf, the Cock, the Dog and the Horse have been understood and painted completely outside the area of human feeling and thought. Kruyder doesn't reproduce the animal from the outside - as humans sees them - but, as it were, from the inside, from the animal itself, and there is no doubt that he must have identified himself with these animals for a long time in order to be able to do so. He saw the being of the animal possessed by impulses and he recognized the cruel sensuality of it everywhere. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"I think I am a tough mountaineer who, when he has the top in sight, is bounced off again [by mental break-downs], but some day I will succeed.. .I must do it, there is no other way for me. It is always such a pity that Jo [his wife] is cracked up so quickly, otherwise I didn't mind very much. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Dear Niece Angel, - Thank you for your words of condolence in the death of [[w:Sina Mesdag-van Houten|my loved one - Wife]. At the funeral it turned out again how much she is honored and loved by all. She was the sun in my life, and although painfully affected, I remember in silent melancholy the many years that I might kept her. Fortunately, the end has been calm and quiet and because of this she has been spared for even greater pains by her illness (calcification of the arteries). I hope to find in my work consolation and distraction for the irreparable loss.- With friendly greetings Your affectionate Nephew HW Mesdag (translation from original Dutch: Fons Heijnsbroek)"

"And you know, if my wife haven't said some forty years ago: do it, let's go to Brussels to study painting, [with a. o. Willem Roelofs ], then I probably would never have left my business [in banking]. (translation from original Dutch: Fons Heijnsbroek)"

"Those two [ Alma Tadema and Roelofs, teaching both Mesdag in Brussels, 1867-69] instructed in exactly the opposite way, you know. For example, Roelofs used to say: you must put more color in that drawing [often meant: watercolor]. And you didn't always saw it yourself in a moment, because you were not yet that far and as high as the master himself was. But Tadema did something completely different; he had more the manners of a professor, who gave his lectures. So Roelofs and he actually complemented each other. (translation from original Dutch: Fons Heijnsbroek)"

"Dear Brother-in-Law - Sister. We are ailing again rather well through the winter, always busy and working. It is a pity that the opportunity for [making] new studies has not yet come, it is always a nice variation. Now it is every time again sea and pinks, etc. [subjects in his paintings]. - For Paris I am very busy - To Vienna a painting will be send.. .A second large painting has gone to Brussels - A [xxxx?] will offer drawings of us [drawings of him and his wife] and , at this moment they are crossing the Great Water, with destination to New York where they will be exhibited - we hope with success - Two beautiful paintings has enriched our collection again, one of Dupre and one of Rousseau. (translation from original Dutch: Fons Heijnsbroek)"

"It was fatal news: the sudden death of our boy, a three-day illness ended his life. What is our house empty.. .,which for eight years [age of their son] was the illusion of our lives. Fortunately for us that we love art and let us hope that we [Mesdag and Sientje, his wife] continue to dedicate our lives to our painting, which has given me already so much pleasure.. (translation from original Dutch: Fons Heijnsbroek)"

"Dear Lords, I hereby have the Honor to announce You that the painting 'Het Binnen komen der Haringschuiten in Scheveningen' has been sent today to your address, for your upcoming Exhibition [in Arti, Amsterdam]. The price is f 2500-. I also declare to stay out of competition for the medal. Yours sincerely HW Mesdag. (translation from original Dutch: Fons Heijnsbroek)"

"I stared at her for many months in my life with a never fading love and with an interest that never diminished. (translation from original Dutch: Fons Heijnsbroek)"

"I thank you for being so sincere in telling me honestly your opinion on the paintings sent to Paris ['Une journée d'hiver à Scheveningue' (a winter-view) and 'Les Brisants de la Mer du Nord' (a sea-scape)]. I am pleased that you really like the large sea piece. As far as the other painting is concerned [winter-view].. ..in a frame and well placed in my studio, most artists [in The Hague] preferred the Winter day. However, that doesn't say enough yet and I am therefore pleased that you gave so honestly your [critical] opinion. (translation from original Dutch: Fons Heijnsbroek)"

"I have rented a room in Scheveningen to make studies from nature. It is a room with view on the sea; I hope to make there beautiful things, and to keep moving forward. (translation from original Dutch: Fons Heijnsbroek)"

"..the art-reviews on my work in the French and English magazines.. ..[are] enough to claim that I already have reached a prominent position among today's marine painters. I would also like to take this fact into consideration when determining my prices. (translation from original Dutch: Fons Heijnsbroek)"

"At the coast you can see the most beautiful sea. I also made my panorama there. I regard it as my most important work; because it gives such a huge impression of nature. But I don't like to start it all again; to paint sixteen hundred meters of canvas there.. (translation from original Dutch: Fons Heijnsbroek)"

"..at home [in Brussels, 1869] I was messing around all winter long with a painting; it was a coast, but painted so primitive. Then I said: you must see the sea in front of you, every day, you have to live with it, otherwise it doesn't work. Then we went to The Hague. (translation from original Dutch: Fons Heijnsbroek)"

"That splendid, head, in which everything is said that can be said; color, line, tone, expression; the slightly advanced head, with the soft, almost human eyes, I never enter my studio in the morning without my eye falling upon this creature and wishing it 'Good Morning'."

"In Groningen [where Mesdag stayed till 1866] I also lived at the harbour, and I always used to chat with those skippers. Afterwards Willem Roelofs and Tadema taught me a lot, in the years from '66 to '69 in Brussels. (translation from original Dutch: Fons Heijnsbroek)"

"What I've made there - about some years ago, you will never see that again! It's all over; with Scheveningen it's finished. And when I didn't still know everything about the past from those sketches, indeed it [his painting] was definitely over. (translation from original Dutch: Fons Heijnsbroek)"

"I know very well that Communism is the only power that will be able to cope with the ever-growing fascism and the increasing power of the Roman Catholics, and that therefore we all have to cooperate, but I can't now; once I am recovered you can count on me.. .I believe in Russia and Russian communism and from here and also through it [will develop] a new life form and also a religious form of existence. I am a great admirer of Berdyaev."

"Frankly speaking, I hate modern German art [she means Neue Sachlichkeit ].. .I don't believe it is art. It's Journalism. If you see a work of Braque, there is culture. Yes, it is interesting [German modern art], but interesting is a nasty word; that is precisely a word that fits that kind of art, especially on [[Otto Dix|[Otto] Dix]]. Those people don't develop. They start by immediately systematizing everything. Their intellect is against them."

"I managed to work two mornings on Eddy's portrait in the large painting 'Three Generations' and I could go on working each morning for 1 1/2 hour., so there is some progress [after her attacks].. ..they [her son Edgar Fernhout and his wife] come now every month for a stay of a few days [in her house De Vlerken, in Bergen], for I hope to finish the painting at the end of the year, so I can exhibit it at my large retrospective exhibition. (translation from original Dutch: Fons Heijnsbroek)"

"Maybe you don't know enough about the facts - I mean my life history. Probably you can discover everything in my works well enough, but.. .. perhaps it would be good if I visit you some evening, or you, or you two, for some days here with me [in Bergen ]. (translation from original Dutch: Fons Heijnsbroek)"

"..a painted or drawn portrait should look more alike than a photo. A photo only presents the moment itself, but in a well-painted portrait you can recognize somebody in all his expressions. Every day you have to be able to see something else in it. (translation from original Dutch: Fons Heijnsbroek)"

"I have an idea - that still-life with the two bouquets I still have here.. .It will fit in your home perfectly - and I would really like to see it hanging there myself.. .You don't have to pay it at once if that doesn't suit you now. Then pay me in 2 times 100 for example,. in the beginning of next year?. .You will be happy with it - ànd - the painting is in the right place.. (translation from original Dutch: Fons Heijnsbroek)"

"I've nailed them to the cross."

"The simple natural form doesn't exist for the new artist; there is only a expressive one.. .But is is more difficult to see the natural in images than to listen to only abstract impressions. To be part of the cosmic means to include the recognition of the natural element that leads to seeing in a spirited way. (translation from original Dutch: Fons Heijnsbroek)"

"Later, when F. [Henk Fernhout, her former husband, until c. 1916-17; he was an alcoholic] was more and more from home, I painted more and more, [I built] my own individual life - also saving my nerves (which were broken for a long time already). (translation from original Dutch: Fons Heijnsbroek)"

"The new artist-society will consist of painters, sculptors and architects. The founders don’t intend that the character of the union will be determined by one single art movement. They believe that there is room for every important expression of this period and they intend the new union as a gathering place for the best young artists, who will collectively determine the character of the society. (translation from original Dutch: Fons Heijnsbroek)"

"In particular, no principles - working - and purifying our own views. (translation from original Dutch: Fons Heijnsbroek)"

"Made desperate attempts - worked for 3 weeks on a self-portrait [in Paris] intended for you, have scratched off everything yesterday! Maybe I can go on with it again in the studio [she was would get on the Rue des Plantes in Paris]. (translation from original Dutch: Fons Heijnsbroek)"

".Now nicely going on to work [painting] and much more free, and in particular more flowing. I hope to grow away from that rigid stuff. (translation from original Dutch: Fons Heijnsbroek)"

"..you could call [the two artists Mondrian and Bart van der Leck ] absolute counterparts. Outwardly they are of course both abstract, of course, but I hate such a view on their art. I find it superficial to consider them like that from the very start. Their life and character is also completely different. Van der Leck lives as a peasant and lives a domestic life. Either one is abstract in his soul, or he isn't. Van der Leck is a real realist. Mondrian has always been away from the world, he is a romantic ascetic, a sophisticated monk. Van der Leck is really nice (Dutch: fijn), but he is certainly not sophisticated (Dutch: verfijnd).."

"If you really want to give yourself as a woman ànd as a mother - completely - it is not possible to make your own creative work. That is, of course, a struggle. Being a mother is also creating, daily - even when children are grown-up - but I have always been able to connect it with my work; I have the children involved in it.. ..[Mrs. Harrenstein-Schräder: To be a mother gives you much satisfaction, I think?].. ..Yes indeed, certainly because there is also something of creation in it, and because I love the driving force that generates from the new, young [life] around you. With a child you experience the whole life in a concise way, that is something so beautiful and so pure."

"I don't believe you can really give yourself to a man, you can sympathize with him, if you have your own strong creative life, which brings your own philosophy of life."

"Roelofs' [his teacher then] 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)"

"..Tadema wrote me that you both agreed that I must not exhibit these two paintings [which Mesdag painted in 1868-69]; [because] they were not yet complete enough for my reputation in Brussels. That's why I will not exhibit this year in Brussels, for I tell you sincerely that I cannot do better at the moment.. .I had very little pleasure from my exhibited paintings in The Hague; they were hanged badly, so people couldn't almost see them, but what can you do? Suffer and keep your mouth. (translation from original Dutch: Fons Heijnsbroek)"

"I have studied the subject and painted it directly to nature [his painting 'Scheveningen strandgezicht / Scheveningen, beach view'] and I have tried to reproduce that motif simply and unaffectedly, with no desire to make a painting with a lot of 'éclat' [glow]. (translation from original Dutch: Fons Heijnsbroek)"

"Do you remember how beautiful it was, and that silly Mondrian and those silly Buddha positions right in the middle at the beach [of Domburg, Zeeland, in 1906] (translation from original Dutch: Fons Heijnsbroek)"