You cannot know at all what will comes out of you because all your knowledge is running otherwise. What you do not know and what you thought that the… - Jozef Israëls

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You cannot know at all what will comes out of you because all your knowledge is running otherwise. What you do not know and what you thought that there would not come at all, that comes out and appears at once, sometimes with a curse and a sigh, and there you have it. - Everything ends well. I made things that I had forgotten for twenty five years. At first I knew them too well, but then I forgot them, I 'had to' forget them. And then I made them. - If some work does not becomes beautiful, well, then you go back to do something else. Worrying doesn't help at all. It will be better later? No, you should not say such things, because you don't know anything about 'becoming better'. (translation from the original Dutch: Fons Heijnsbroek)

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About Jozef Israëls

Jozef Israëls (27 January 1824 – 12 August 1911) was a Dutch painter. He was a leading senior artist of the group of landscape painters referred to as the Hague School. In Israëls' painting art the ordinary people are his dominating subject.

Also Known As

Alternative Names: Josef Israëls Jozef Israïls Jozef Israels Yosef Yiśraʼel's Joseph Israëls Josef Israels Josef Israêls Yosef Yiśra'el's Joseph Israels Yosef Yisrael's josef v. israels Israels jo.s israels jos. israel joseph israels jozeph israels J. Israels Isräel israels j. j. israel jos. jsraels israels jozef jos. israels josef israel jo. israels
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Additional quotes by Jozef Israëls

..but I must have it back [a sketch of mother with child at the breast] very soon, because I become attached to it.. .Such a sketch is a part of my life; it always stays. I use it ten or twenty times.. .It is a foundation on which I build. (translation from the original Dutch: Fons Heijnsbroek)

There he Rembrandt stood, when everything was on the canvas [of the 'Night Watch'], but then he shook his head.. ..In his opinion the two men [in the center of the painting: Frans Banning Cocq and Willem van Ruytenburch did not yet come forward into the foreground. Then he [Rembrandt] took up his large palette again, dicked his thickest brushes deep into the paint, and once again took on these two front figures with powerful strokes; here more depth, there more light. In this way he put everything to the test, in order to give an even more powerful relief to what needed to stand out. Then he saw that it was good, and that is how he left it. (translation from the original Dutch: Fons Heijnsbroek)

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