I first met Diego [who became later her husband] while he was painting the amphitheater [at the Escuela National Preparatoria, where Rivera was painting the mural 'La Créación', 1922 -1923] and I would really cherish going to see him paint. Orozco [famous Mexican painter] was also painting [murals] in the Prepa, and I remember one time a group of kids wanted to scratch the paintings of Diego and Orozco... Every day we went for ice cream at a stand opposite the law school... Sometimes Diego himself would pass by, and we would tease him. One day they asked me who I wanted to marry, and I said I would not marry, but I did want to have a child by Diego Rivera.
Frida KahloRelated topics
child cream day went husband ice later law met mexican mural national paint pass school scratch see stand while diego RiveraRelated quotes
Even while I protest the assembly-line production of our food, our songs, our language, and eventually our souls, I know that it was a rare home that baked good bread in the old days. Mother's cooking was with rare exceptions poor, that good unpasteurized milk touched only by flies and bits of manure crawled with bacteria, the healthy old-time life was riddled with aches, sudden death from unknown causes, and that sweet local speech I mourn was the child of illiteracy and ignorance. It is the nature of a man as he grows older, a small bridge in time, to protest against change, particularly change for the better.
John Steinbeck
God has permitted and does permit us to be shaken by adversity. Difficult times lie ahead. We will be greatly tested. We have to take this warning seriously and live spiritually... Many saints would have loved to have lived in our times and have had our chance to struggle for Christ... Our struggle matters because it is not a struggle against an Ali Pasha, or a Hitler and a Mussolini, but a struggle against the devil himself. For this reason, our wages will be heavenly... The saints will become more holy and the vile will become more vile. Yet I feel great consolation inside. This is only a storm; like past storms, it will pass. May the Good God take evil and turn it into good. Amen.
Paisios of Mount Athos
I have always been structured. What has changed is the proportions. Now it is eight hours of paperwork and one of painting. I go to the studio every day, but I don't paint every day. I love playing with my architectural models. I love making plans. I could spend my life arranging things. Weeks go by, and I don't paint until finally I can't stand it any longer. I get fed up. I almost don't want to talk about it, because I don't want to become self-conscious about it, but perhaps I create these little crises as a kind of a secret strategy to push myself. It is a danger to wait around for an idea to occur to you. You have to find the idea.
Gerhard Richter
When we met in Berlin [1910], I arranged with Heckel and Kirchner that the three of us would go and work together on the lakes of Moritzburg near Dresden. We had long been familiar with the region, and we knew that we would have the opportunity tp paint nudes in the open air without interference... We had to find two or three people who were not professional models and would therefore pose for us without falling into studio routines.... we artists set out early every morning, laden with our equipment, followed by the models with bags full of good things toe at and drink. We lived in complete harmony, we worked and went swimming.... each of us [three] executed a great number of paintings and drawings.
Max Pechstein
Miro came of age as an artist just at the time World War 1. ended. With the end of the war came the end of all the new pre-war art conceptions. A young painter could not start as a Cubist or a Futurist, and Dada was the only manifestation at the moment. Miro began by painting farm scenes from the countryside of Barcelona, his native land... A few years later he came to Paris [circa 1914] and found himself among the Dadaists who were, at that time, transmuting into Surrealism. In spite of this contact Miró kept aloof from any direct influence and showed a series of canvases in which form submitted to strong colouring expressed a new two-dimensional cosmogony, in no way related to abstraction.
Marcel Duchamp