Top 15 Paula Modersohn-Becker Quotes

I want to give colors intoxication, fullness, excitement, power. By trying to forget Impressionism, I wanted to conquer it. In the process I was conquered. We must work with assimilated, digested Impressionism.

We cleave to the past too much in Germany. All of our German art is too bogged down in the conventional.. .I think more highly of a free person who consciously puts convention aside.

Now it's almost as beautiful as Christmas [then Paula suddenly fell to the floor].. ..What a pity! [her last words].

I would like to go to Paris for a week. Fifty-six Cezannes are being shown there!

My mind has been so much occupied these days by the thought of Cézanne, of how he has been one of the three or four powerful artists who have affected me like a thunderstorm, like some great event. Do you still remember what we saw at Vollard [art-seller in Paris who showed Cézanne's works frequently in his gallery] in 1900? And then, during the final days of my last stay in Paris, those truly astonishing early paintings of his at the Galerie Pellerin. Tell your husband he should see the things there.. .If it were not absolutely necessary [Paula was pregnant] for me to be here right now [Germany], nothing could keep me away from Paris.

What I want to produce is something compelling, something full, an excitement and intoxication of color – something powerful. The paintings I did in Paris are too cool, too solitary and empty. They are the reaction to a restless and superficial period in my life and seem to strain for a simple, grand effect. I wanted to conquer Impressionism by trying to forget it. What happened was that it conquered me. We must work with digested and assimilated Impressionism..

The review was more a satisfaction to me than a joy. Joy, overpoweringly beautiful moments, comes to an artist without other noticing. The same is true for moments of sadness. That's why it is true that artists live mostly in solitude.. .Otto [Modersohn] and I shall be coming home [ Worpswede ] again in the spring. That man is touching in his love. We are going to try to buy the Brünjes place in order to make our lives together freer and more open.. .If the dear Lord will allow me once again to create something beautiful, then I shall be happy and satisfied; if only I have a place where I can work in peace. I will be grateful for the portion of love I've received. If one can remain healthy and not die too young..

I cannot come back to you. Not yet.. .I do not yet want to have a child by you. I must wait, if it comes again, or if something else comes out of it..

This past summer I realized that I am not the sort of woman to stand alone in life. Apart from the eternal worries about money, it is precisely the freedom I have had which was able to lure me away from myself. I would so much like to get to the point where I can create something that is me. It is up to the future to determine for us whether I'm acting bravely or not. The main thing now is peace and quiet for my work, and I have that most of all when I am at Otto Modersohn's side.

The time is getting closer for you to be coming [to Paula, in Paris]. Now I must ask you for your sake and mine, please spare both of us this time of trial. Let me go, Otto Otto Modersohn. I do not want you as my husband.. ..accept this fact; don't torture yourself any longer.

Night and day I've been most intensely thinking about my painting, and I have been more or less satisfied with everything I've done. I'm slacking a little now, not working as much, and no longer so satisfied. But all in all, I still have a loftier and happier perspective on my art than I did in Worpswede. But it does demand a very, very great deal of me – working and sleeping in the same room with my paintings is a delight.. .When I wake up in the middle of the night, I jump out of bed and look at my work. And in the morning it's the first thing I see..

..you [Otto] know me well enough to know that I am not bad and heartless. It just happen to be a 'Sturm und Drang' period which I have to get through, and there is no way to avoid hurting the people closest to me. It hurts me to cause you all this pain and suffering. Believe me when I say it is not easy for me either. But I must fight it through, to one exit or another – It has begun to be really beautiful here.. .I've seen wonderful Courbet's. I am sorry that he is now the latest mode. I think he is greater than either Manet or Monet. There was a colossal still life [of Courbet] with hollyhocks, in every conceivable colour, with a female figure in it. It was magnificently painted.. .Stay close to Elsbeth and to your art..

Dear Rainer Maria Rilke
I thank you for saying that you rather like my painting of 'the little child'.. .You have brought me the first touch of Paris with this phrase of yours about 'liking and approving', and that alone is a great deal.. .Will I be seeing you here [in Worpswede] before I leave? I really hope not. The ground is burning a little beneath my feet.. . And now, I don't even know how I should sign my name. I'm not Modersohn, but I'm no longer Paula Becker anymore either [because she was married with Otto Modersohn, but is now leaving him]. I am Me, and I hope to become Me more and more. That is surely the goal of all our struggles.. .I am now leaving Friday night and shal arrive in Paris on Saturday. Write a line to 29 Rue Cassette, where I plan to stay..

Mornings I am painting Clara Rilke in a white dress. It's to be her head and part of a hand holding a red rose. She looks very beautiful that way, and I hope that I am getting a little of her into my portrait. Her little girl, Ruth is playing next to us. She is a cuddly little creature. I'm happy that I can get together frequently with Clara Rilke this way. In spite of everything she is still, of all my friends, the one I care about the most. She was living very close to Rodin for about a month.. .As Rodin's secretary Rilke [Clara's husband] is gradually meeting the intelligentsia of Europe.
Otto paints and paints and paints..

There are great many Rembrandts here [in Paris]. Even if they are yellow with varnish, I can still learn so much from them, the wrinkled intricacy of things, life itself. There is a little thing here by him.. ..It is of a women in bed, nude. But the way it's painted, the way the cushions are painted, their shapes, with all those details of lacework, the whole thing is bewitching.