„.. I also send the picture of the 'Trinity' [also called La Gloria].... in my wish to satisfy your C. M. [Caesarean Majesty] I have not spared myself the pains of striking out two or three times the work of many days to bring it to perfection and satisfy myself, whereby more time was wasted than I usually take to do such things.... the portrait of Signor Vargas [agent of Charles V, who was paying Titian for his works] introduced into the work [very probably in the 'La Gloria' / 'Trinity'] was done at his request. If it should not please your C. M. any painter can, with a couple of [brush] strokes, convert it into another person.“

—  Ticiano, 1541-1576, In a letter from Venice to the Spanish emperor Charles V in Bruxelles, 10 Sept. 1554; original in the 'Appendix' of Titian: his life and times - With some account of his family... Vol. 2., J. A. Crowe & G.B. Cavalcaselle, Publisher London, John Murray, 1877, p. 231-232 Titian is announcing in his letter the completion and the delivery of the paintings 'Trinity' and 'Addolorata' and probably a third painting 'Christ appearing to the Magdalen', for Mary of Hungary
 Ticiano photo
Pintor Renascentista 1488 - 1576

Citações relacionadas

„To achieve the structure it takes a damn long time, so my paintings are always in work for a very long time—sometimes a year. Not that I work on them every day. I will have them, and then come back to them after a year, and also return intermittently. It’s not easily done. I am not able to do “one, two, a painting.” I try to do it very quickly, but it doesn’t work with me. I simply can’t do it. Very often people look and say, 'Ah, fantastic! That’s a beautiful painting.'“

—  Per Kirkeby Danish artist 1938 - 2018
1995 and later, But the moment they are out the door I start working on it. I rework it. In a talk with Kosinski, before 'Per Kirkeby at the Phillips', in The Phillips Collection, Washington D.C. January, 2013 Kirkeby spoke to exhibition co-curator Dorothy Kosinski about the necessity of time in the development of a painting.

„The first commercial licensing of where CP/M was used to monitor programs in the Octopus network. Little attention was paid to CP/M for about a year. In my spare time, I worked to improve overall facilities… By this time, CP/M had been adapted for four different controllers….
In 1976“

—  Gary Kildall Computer scientist and entrepreneur 1942 - 1994
Gary Kildall (1980) " The History of CP/M, The Evolution of an Industry: One Person's Viewpoint http://www.retrotechnology.com/dri/CPM_history_kildall.txt." Dr. Dobb's Journal of Computer Calisthenics & Orthodontia Vol. 5 (1) (41). p. 6-7

 Titian photo
Maurice Ravel photo
Georgia O'Keeffe photo
 Titian photo

„Your Ceasarean Majesty, I consigned to senõr Don Diego di Mendoza, the two portraits of the most serene Empress [ Isabella ], in which I have used all the diligence of which I was capable. I should have liked to take them to your Majesty in person, but that my age and the length of the journey forbade such a course. I beg your Majesty to send me words of the faults or failings which I may have made, and return the pictures that I may correct them. Your Majesty may not permit anyone else to lay hand on them.... Your Majesty’s most humble and constant servant, Titiano.“

—  Titian Italian painter 1488 - 1576
1541-1576, Source: https://en.wikipedia.org/wiki/Titian#/media/File:Isabella_of_Portugal_by_Titian.jpg In a letter to Emperor Charles V, from Venice, 5 Oct, 1544; copied in the 'Archives of Simancas' by Mr. Bergenroth; as quoted by J.A.Y. Crowe & G.B. Cavalcaselle in Titian his life and times - With some account... Volume II, publisher John Murray, London, 1877, p. 103 This letter is written by Titian himself - free from the polite style of his secretary/friend Arentino; he is telling the Emperor that he had finished two portraits of the Empress Isabella, he painted after her death after a probably Flemish original. The two portraits were sent to the court in Brussels.

 Titian photo

„Most high and important Signor, Having recently obtained a 'Queen of Persia' of some quality, which I thought worthy of appearing before your Highness' [= Prince Philip II] exalted presence, I had her sent, pending the time when other works of mine were drying, to take embassies from me to your Highness, and be company to the landscape and [a] St. Margaret, previously sent by Ambassador [Fransesco] Vargas.... Most high and potent Signor's servant, who kisses your feet, Titiano Vecellio.“

—  Titian Italian painter 1488 - 1576
1541-1576, In a letter to Philip II, then still Prince of Spain, sent from Venice 11th Oct. 1552; as quoted in Titian: his life and times - With some account of his family... Vol. 2. J. A. Crowe & G.B. Cavalcaselle, Publisher London, John Murray, 1877, p. 218 For the first time in the annals of Italian painting history we are informed by this letter about a painting which is nothing more than a landscape! According to reports of visitors [for instance Aurelio Luini ] of Titian's studio, he very probably painted more landscapes, but all of them are perished.

Arshile Gorky photo
Jopie Huisman photo

„I worked for months on this painting [title 'The Stone-wheelbarrow of C. Adema', 1977], for instance that well-bucket on the wheelbarrow I painted a twenty times or more, and it is constructed exactly as nature has shaped it. I want to make it harder and harder for myself. 'That's how it is' doesn’t exist for me. Deepening, that's what it is all about. My wish is to make in due time a small painting in which I can hardly discover any longer that it is painted, that it is just there, like that. Just something very simple.“

—  Jopie Huisman Dutch painter 1922 - 2000
translation, Fons Heijnsbroek, 2018 version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Maandenlang heb ik aan dit schilderij [titel: 'De steenkruiwagen van C. Adema', 1977] gewerkt en die putemmer bijvoorbeeld op de kruiwagen, heb ik wel twintig keer geschilderd en is precies zo opgebouwd als de natuur hem gevormd heeft. Ik wil het mezelf steeds moeilijker maken. Zo kan het wel – bestaat niet voor mij. Verdieping, daar gaat het om. Ik wil nog eens een keer een schilderijtje zo maken, dat ik haast niet meer kan zien dat het geschilderd is, dat het er gewoon is, zo, zonder meer. Iets heel eenvoudigs. p. 80

Fred Astaire photo
Frederick Winslow Taylor photo
Diana Gabaldon photo
Eric Gill photo
Adolphe Quetelet photo
Roger Manganelli photo
John Stuart Mill photo

„Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Etiam egestas wisi a erat. Morbi imperdiet, mauris ac auctor dictum.“