José Clemente Orozco [became later a famous Mexican painter as well] and I would travel on the same trolley from Coyoacán to Mexico City, and I would carry his papers. We became pals, and I invited him to the house. I had painted four or five things when he visited, and he gave me a hug and said I had a lot of talent, and he chatted on about the horrors of Diego [Rivera]. There was beginning to be talk about Diego; that he had returned from Russia and was giving talks on on Russian theater and art. I would go to hear him. Afterwards, he began to paint at the Prepa. [Escuela Prepatoria] and later at the Secretaríade Educación. I was studying at the Prepa, but the [bus] accident [in 1925] messed me up.
Frida KahloRelated topics
accident art beginning begin carry city five four giving house later mexican paint talent talk travel trolley well things Mexico diego PALS RiveraRelated quotes
Prior to all overturns of XX century, without an exception, Russian opposition has accused authorities in "transferring funds to abroad". And in all cases in turned out to be void propaganda - from 1914-1917 to 1991. And money were transferred later, after the revolution, under brands of "people's power" and "won democracy". The only real way of plundering through "transfer of funds" is change of political system, which would transform into zeroing of all governmental promissory notes. As soon as Russia will become "Other Russia", all the property will turn out to be transferred, "nobody's". And people will be informed, that "previous power has eaten all".
Gleb Pavlovsky
We found a round figure of three million Jews in Poland, and then immediately after that came the Russian campaign and we found another five million Jews in Russia. How on Earth could we manage to emigrate this eight million by using long and tiresome official methods if we could not, as was planned somehow or other after the war organise a general and mass-protected and organised emigration to Madagascar? We had conquered France, after all, and we could have compensated France adequately from our other colonial possessions so we could have used Madagascar - the island was big enough to accommodate such a number of Jews - but in the war we were cut off. We had no other choice.
Karl Wolff
[David Sylvester asked Gottlieb, he is aware of the impact of the city New York on his painting:] Definitely I am. When I was in Paris last spring, my original plan was to go for four months and to paint there, and a number of people urged me to stay. That wanted to see what would happen, how my painting would change. But I felt strongly after being there less than a month that it was necessary for me to come back to New York, because I feel a certain rhythm in New York I don't feel in Paris.... there is a tempo in the life of New York which is exhilarating and I feel that this gets into one's painting. It's the pulse, not the look. I'am not involved with the external appearance of the city; it's the vibrations. ].
Adolph Gottlieb
In the United States a man builds a house to spend his latter years in it and he sells it before the roof is on. He plants a garden and lets it just as the trees are coming into bearing. He brings a field into tillage and leaves other men to gather the crops. He embraces a profession and gives it up. He settles in a place which he soon afterward leaves to carry his changeable longings elsewhere. If his private affairs leave him any leisure he instantly plunges into the vortex of politics and if at the end of a year of unremitting labour he finds he has a few days' vacation, his eager curiosity whirls him over the vast extent of the United States, and he will travel fifteen hundred miles in a few days to shake off his happiness.
Alexis de Tocqueville
We [Frida and Diego] moved from the house on Reforma [street] to Coyoacán, and that had an enormous influence on me. How we painted the house and the Mexican furniture, all that influenced my painting a lot. While still on Reforma, I painted a self-portrait [Self-portrait 'Time Flies', 1929] that is owned by Morillo Safa. Once in Coyoacán I began to make paintings with backgrounds and Mexican things in them. I painted the portraits of Hale's sister.. ..and the one of Diego, which I did not finish [this painting is lost and was never documented before]. Those three paintings, who knows where they are. Mirillo Safa has the third self-portrait [her Self-portrait of 1930], showing me bald and sitting in a cane chair. (1950)
Frida Kahlo