122 “teacher of” . . . “questions and”: Rainer Maria Rilke and Lou Andreas-Salomé, The Correspondence. Translated by Edward Snow and Michael Winkler. New York and London: W. W. Norton, 2006, 137.
122 “protective” . . . “intensification”: Quoted in Scott Appelrouth and Laura Desfor Edles, Classical and Contemporary Sociological Theory: Text and Readings. Thousand Oaks, CA: Pine Forge Press, 2008, 262–273.
122 “Every intensification”: Rainer Maria Rilke, Letters to a Young Poet. Translated by Stephen Mitchell. New York: Random House, 2004, 101.
123 “By inventing a new”: Quoted in Debora L. Silverman, Art Nouveau in Fin-de-siècle France. Berkeley and Los Angeles: University of California Press, 1992, 313.
123 “one should not draw”: Rainer Maria Rilke, Selected Letters of Rainer Maria Rilke. Translated by R. F. C. Hull. London: Macmillan, 1946, 76.
124 “inner history” . . . “indispensable”: To Clara Westhoff, June 16, 1905.
124 “cuddly” . . . “getting to see”: PMB, 375.
124 “one tear after”: Quoted in Diane Radycki, Paula Modersohn-Becker: The First Modern Woman Artist. New Haven, CT: Yale University Press, 2013, 130.
124 “What Paula” . . . “very much under”: PMB, 377–378.
125 “My very dear”: LP, 228.
125 “It is the need to see you”: Auguste Rodin, Correspondance de Rodin, II, Editions du Musée Rodin, 1987, 167. [From the French: C’est le besoin de vous revoir, mon Maître, et de vivre un moment la vie ardente de vos belles choses, qui m’agitent.]
125 “so you can talk”: To Clara Westhoff, September 7, 1905, in French.
125 “its garden”: To Clara Westhoff, September 7, 1905.
125 “Follow my example”: DF, 178.
126 “Without doubt”: DYP, 166.
126 “blocks of sound”: Quoted in Malcolm MacDonald, Varèse: Astronomer in Sound. London: Kahn & Averill, 2003, 15.
126 “revolting slaughter” . . . “doesn’t know how”: FG, 497.
127 “asininities as if”: Louise Varèse, Varèse: A Looking-Glass Diary. New York: W. W. Norton, 1972, 34.
127 “didn’t know a damn”: FG, 493.
127 “We have actually three” . . . “sound projection”: Edgard Varèse, “The Liberation of Sound.” Audio Culture: Readings in Modern Music. Edited by Christoph Cox and Daniel Warner. London: A&C Black, 2004. Originally published in 1936. 18.
127 “Much more world”: To Clara Westhoff, September 15, 1905.
127 “It is wonderful how”: Rainer Maria Rilke, Selected Letters of Rainer Maria Rilke. Translated by R. F. C. Hull. London: Macmillan, 1946, 78.
127 “like a big dog” . . . “recognizing me”: To Clara Westhoff, September 15, 1905.
128 “make good the”: FG, 502–503.
128 “My pupils” . . . “They are all”: FG, 495.
129 “head spin”: FG, 493.
129 “his deepest desire”: LB, 78.
129 “I shall come” . . . “He wants me”: To Countess Luise Schwerin, September 10, 1905.
129 “if you’ll deign”: FG, 493.
130 “has become a stanza”: To Arthur Holitscher, December 13, 1905.
130 “joie de vivre”: FG, 492.
CHAPTER NINE
131 “Rilke plunged” . . . “For the first”: Victor Frisch and Joseph T. Shipley, Auguste Rodin. Frederick A. Stokes, 1939, 272.
131 “everything”: FG, 492.
132 “how necessary”: To Arthur Holitscher, December 13, 1905.
132 “He shows you everything”: Rainer Maria Rilke, Selected Letters of Rainer Maria Rilke. Translated by R. F. C. Hull. London: Macmillan, 1946, 77.
132 “The smallest things”: To Arthur Holitscher, December 13, 1905.
132 “blossoming in this”: Rainer Maria Rilke, Selected Letters of Rainer Maria Rilke. Translated by R. F. C. Hull. London: Macmillan, 1946, 82.
132 “flinging themselves” . . . “unspeakable”: Rainer Maria Rilke, Selected Letters of Rainer Maria Rilke. Translated by R. F. C. Hull. London: Macmillan, 1946, 81.
133 “good and faithful”: Rainer Maria Rilke, Selected Letters of Rainer Maria Rilke. Translated by R. F. C. Hull. London: Macmillan, 1946, 77.
133 “white bird”: Clara Westhoff, December 2, 1905.
134 “Acropolis of France”: CF, 203.
134 “The chief thing”: Auguste Rodin, “The Gothic in France.” The North American Review, volume 207, 1918, 116.
135 “suppleness”: CF, 206.
135 “There’s a storm” . . . “But you don’t”: Rainer Maria Rilke, Selected Letters of Rainer Maria Rilke. Translated by R. F. C. Hull. London: Macmillan, 1946, 81. [Rodin’s quote translated from the original French].
136 “outrage inflicted”: FG, 503.
136 “liberation”: FG, 421.
136 “mass of untransformed”: Rainer Maria Rilke, Selected Letters of Rainer Maria Rilke. Translated by R. F. C. Hull. London: Macmillan, 1946, 84.
136 “the most elevated”: Ralph Freedman, “Das Stunden-Buch and Das Buch der Bilder: Harbingers of Rilke’s Maturity.” In A Companion to the Works of Rainer Maria Rilke, Edited by Erika A. Metzger and Michael M. Metzger. Rochester, NY: Camden House, 2001, 90.
137 “But I need ‘only time’ ”: Rainer Maria Rilke, Selected Letters of Rainer Maria Rilke. Translated by R. F. C. Hull. London: Macmillan, 1946, 83.
137 “incapable of love”: BT, 131.
138 “suggests a scatalogical” . . . “bestial countenance”: FG, 504.
138 “I avenge myself”: RSG, 427.
138 “need of my support”: To Karl von der Heydt, Wednesday after Easter 1906.
139 “had left the prime” . . . “In the first fifteen”: George Bernard Shaw, “G.B.S. On Rodin.” The Nation. London, December 1912.
140 “indescribable delight”: RSG, 391.
141 “M. Shaw does not”: RSG, 390.
141 “Bernarre Chuv”: FG, 511.
141 “Rarely has a”: RSG, 390.
141 “this truly creative”: RP, 120.
142 “No photograph yet” . . . “except their suits”: Alvin Langdon Coburn, Alvin Langdon Coburn, Photographer. Edited by Helmut and Alison Gernsheim. New York: Dover, 1978, 40.
142 “luminous”: FG, 570.
142 “He saw me”: George Bernard Shaw, “G.B.S. On Rodin.” The Nation, London, December 1912.
143 “Shaw, Bernard:” Quoted in Sally Peters, Bernard Shaw: The Ascent of the Superman. New Haven, CT: Yale University Press. 1996, 235.
CHAPTER TEN
144 “mince-meat” . . . “They’ve opened up”: LYR, 75–76.
145 “ounce of fat”: FG, 522.
145 “He is mad, brutally”: FG, 517.
145 “Of course I’m a sensual” . . . “not the sensuality”: FG, 514.
145 “understand me better”: Frederick Lawton, The Life and Work of Auguste Rodin. New York: C. Scribner’s, 1907, 276.
146 “erotomania” . . . “The whole of Paris”: Quoted in Auguste Rodin, Dominique Viéville, Rodin: The Figures of Eros : Drawings and Watercolours, 1890–1917. Paris: Musée Rodin, 2006, 64.
146 “Sultan of Meudon”: Alexander Sturgis, Rebels and Martyrs: The Image of the Artist in the Nineteenth Century. New Haven, CT: Yale University Press, 2006, 166.
146 “Nothing is so amusing” . . . “She takes off”: LYR, 75–76.
146 “some girl or other”: Alma Mahler, Gustav Mahler: Memories and Letters. Translated by Basil Creighton. New York: Viking, 1946, 136.
147 “The details hardly” . . . “She wanted to live”: Jean Cocteau, Paris Album: 1900–1914. London: W. H. Allen, 1956, 108–109.
148 “He ran his hands” . . . “How often”: Isadora Duncan, My Life. New York: W. W. Norton, revised and updated, 2013, 74–75.
149 “little wife”: RSG, 457.
149 “very poorly dressed”: FG, 487.
150 “Yes, I am proud”: RSG, 415.
150 “No use disturbing”
: Bernard Harper Friedman, Gertrude Vanderbilt Whitney: A Biography. New York: Doubleday, 1978, 288.
150 “The Influenza”: James Wyman Barrett, Joseph Pulitzer and his World. New York: Vanguard, 1941, 288.
151 “astonishing intensity”: Rainer Maria Rilke, Selected Letters of Rainer Maria Rilke. Translated by R. F. C. Hull. London: Macmillan, 1946, 86.
152 “Rodin’s disposition had” . . . “brutally and”: Judith Cladel, Rodin. Translated by James Whitall. New York: Harcourt, Brace, 1937, 203.
152 “like a thieving”: To Auguste Rodin, May 12, 1906.
152 “poor Rilke” . . . “difficult person”: William Rothenstein, Since Fifty. Volume 3. London: Faber & Faber, 1939, 314–315.
152 “When he was through”: Lou Tellegen, Women Have Been Kind: The Memoirs of Lou Tellegen. New York: Vanguard, 1931, 80.
152 “always called a spade”: Quoted in FG, 564.
153 “uneducated, coarse” . . . “very much beneath”: Anthony Ludovici, online excerpt from Confessions of an Anti-Feminist: The Autobiography of Anthony M. Ludovici. Edited by John V. Day. Counter-Currents.
153 “unflinching sympathy”: PR, vii.
153 “the proverbial”: Anthony M. Ludovici, “Rilke’s Rodin.” London Forum, 1.1, 1946, 41–50.
154 “Monsieur Rodin”: RSG, 480.
154 “in a violent quarrel”: Anthony Ludovici, online excerpt from Confessions of an Anti-Feminist: The Autobiography of Anthony M. Ludovici. Edited by John V. Day. Counter-Currents.
154 “the demands” . . . “to say anything”: To Clara Westhoff, June 28, 1907.
155 “Rilke was much”: Anthony M. Ludovici, “Rilke’s Rodin.” London Forum, 1.1, 1946, 41–50.
155 “I’m not Modersohn”: PMB, 384.
156 “happy”: To Clara Westhoff, May 12, 1906
156 “I am profoundly”: To Auguste Rodin, May 12, 1906.
156 “a private secretary” . . . “in reality a”: LB, 78.
156 “It was not to your” . . . “I understand”: To Auguste Rodin, May 12, 1906.
156 “what should have”: To Clara Westhoff, June 14, 1906.
157 “It’s Modersohn”: Quoted in Diane Radycki, Paula Modersohn-Becker: The First Modern Woman Artist. New Haven, CT: Yale University Press, 2013, 136.
157 “Please spare both”: PMB, 408.
158 “kneel down”: To Clara Westhoff, June 29, 1906.
158 “What do you know”: Rainer Maria Rilke, “L’Ange du Méridien.” New Poems. Translated by Edward Snow. New York: Macmillan, 2001, 5.
159 “This is no figure of a son”: Rainer Maria Rilke, Rodin and Other Prose Pieces. Translated by G. Craig Houston. London: Quartet Books, 1986, 39.
159 “This last period”: To Karl von der Heydt, July 31, 1906.
160 “interior marriage”: LP, 175.
161 “I will not give up”: To Clara Westhoff, December 17, 1906.
161 “To be loved”: Rainer Maria Rilke, The Notebooks of Malte Laurids Brigge. Translation by Stephen Mitchell. New York: Vintage, paperback, 1985, 250.
161 “Since that first contact”: Rainer Maria Rilke, Selected Letters of Rainer Maria Rilke. Translated by R. F. C. Hull. London: Macmillan, 1946, 115.
162 “I have again stored”: To Elisabeth von der Heydt, February 10, 1907.
162 “My god”: RAS, 192.
162 “the space around”: Rainer Maria Rilke, Letters to a Young Poet. Translated by Stephen Mitchell. New York: Random House, 1984, 40.
CHAPTER ELEVEN
164 “in a contact” . . . “in a sudden”: Wilhelm Worringer, Abstraction and Empathy: A Contribution to the Psychology of Style. Chicago: Ivan R. Dee, 1997, xvi–xvii
165 “more editions”: Ursula Helg, “ ‘Thus we forever see the ages as they appear mirrored in our spirits’: Wilhelm Worringer’s Abstraction and Empathy as :longseller, or the birth of artistic modernism from the spirit of the imagined other.” Journal of Art Historiography, number 12, June 2015, 3.
165 “the effect of establishing”: Wilhelm Worringer, Abstraction and Empathy: A Contribution to the Psychology of Style. Chicago: Ivan R. Dee, 1997, xxx.
165 “in absolute agreement”: Quoted in Neil H. Donahue, Invisible Cathedrals: The Expressionist Art History of Wilhelm Worringer. University Park, PA: Penn State Press, 1995, 1.
166 “Finally, for once”: Quoted in Neil H. Donahue, Invisible Cathedrals: The Expressionist Art History of Wilhelm Worringer. University Park, PA: Penn State Press, 1995, 70.
166 “little cubes”: Quoted in Alex Danchev, Georges Braque: A Life. New York: Arcade, 2005, 79.
166 “weapons” . . . “Les Demoiselles”: André Malraux, Picasso’s Mask. Boston: Da Capo, 1995, 11.
167 “Spanish in origin”: Quoted in Mary Ann Caws, Pablo Picasso. Clerkenwell: Reaktion, 2005, 32.
167 “young people want” . . . “striving for”: Herman Bernstein, With Master Minds: Interviews. New York: Universal Series, 1913, 126.
167 “For the majority”: Quoted in Leaving Rodin behind? Sculpture in Paris, 1905–1914. Edited by Catherine Chevillot. Paris: Musee d’Orsay, 2009.
167 “When I began to” . . . “His works”: FG, 578.
168 “nothing grows”: Quoted in David W. Galenson, Old Masters and Young Geniuses: The Two Life Cycles of Artistic Creativity. Princeton, NJ: Princeton University Press, 2011, 115.
168 “It is impossible”: Pam Meecham and Julie Sheldon, Modern Art: A Critical Introduction. London and New York: Routledge, 2000, 88.
168 “He told me I”: Dorothy M. Kosinski, Jay McKean Fisher, and Steven A. Nash, Matisse: Painter as Sculptor. New Haven, CT: Yale University Press, 2007, 106.
168 “fuss over it”: André Gide, Journals: 1889–1913. Translated by Justin O’Brien. Urbana and Chicago: University of Illinois Press, 2000, 174.
168 “merely showed” . . . “He could not”: Henri Matisse, Jack D. Flam, Matisse on Art. Berkeley: University of California Press, 1995, 126.
169 “the reverse” . . . “replacing explanatory”: Jean Leymarie, Henri Matisse, Issue 2. Berkeley: University of California Press, 1966, 20.
169 “a man of the Middle Ages”: Catherine Lampert, Rodin. London: Royal Academy of Arts, 2006, 15.
169 “At home, I have” . . . “talk to me”: Jennifer Gough-Cooper, Apropos Rodin. London: Thames & Hudson, 2006, 56.
170 “Stripped of all”: RSG, 407.
171 “wonderful palace” . . . “my daughter”: Mary French, Memories of a Sculptor’s Wife. Boston and New York: Houghton Mifflin, 1928, 203.
171 “a young American”: FG, 530.
171 “astonishing how”: JA, 495.
171 “was not among his best”: FG, 570.
171 “All the world sees”: Helen Zimmern, “Auguste Rodin Loquitur.” The Critic, volume 41, 1902, 518.
172 “no vertical lines”: Quoted in Jerry Saltz, Seeing Out Loud: The Village Voice Art Columns. Great Barrington, MA: The Figures, 2003, 38.
172 “the Professor”: Quoted in Hilary Spurling, The Unknown Matisse: A Life of Henri Matisse: The Early Years, 1869–1908. Oakland: University of California Press, 2001,378.
172 “I have simply”: Henri Matisse, Jack D. Flam, Matisse on Art. Berkeley and Los Angeles: University of California Press, 1995, 81.
174 “An uproarious horde”: Quoted in Francis Steegmuller, Cocteau: A Biography. New York: Little, Brown, 1970, 38.
174 “to mark the end”: Jean Cocteau, Paris Album: 1900–1914. London: W. H. Allen, 1956, 134.
CHAPTER TWELVE
176 “a night café” . . . “overpowers”: To Clara Westhoff, June 7, 1907.
177 “I couldn’t go away”: To Clara Westhoff, June 13, 1907.
177 “no longer so full” . . . “the sort of woman”: PMB, 413.
177 “Poor little creature”: PMB, 409.
177 “If only we can”: PMB, 418.
177 “inattentive”: Quoted in Kaja Silverman, Flesh of My Flesh. Redwood City, CA: Stanford University Press, 20
09, 72.
178 “strange and”: To Clara Westhoff, August 30, 1907.
178 “would have been an” . . . “through the circumstances”: To Clara Westhoff, June 26, 1907.
178 “I at once grasped”: To Clara Westhoff, June 19, 1907.
179 “with sharply bent”: To Clara Westhoff, June 21, 1907.
179 “tar and turpentine” . . . “scream the”: To Clara Westhoff, September 13, 1907.
179 “Salon de Bouguereau”: Alex Danchev, Cézanne: A Life. New York: Pantheon, 2012, 3.
179 “color-drunk”: Jacqueline Munck, “Vollard and the Fauves: Derain and Vlaminck.” Cézanne to Picasso. New York: Metropolitan Museum of Art, 2006, 127.
180 “laughed themselves”: Quoted in Hilary Spurling, The Unknown Matisse: A Life of Henri Matisse: The Early Years, 1869–1908. Oakland: University of California Press, 2001, 371.
180 “as if at a bad”: LC, 31.
180 “unquestioning, matter-of-fact”: LC, 74–75.
181 “All of reality”: LC, 27.
181 “the first and ultimate” . . . “The interior”: LC, 71.
181 “that painting is made”: LC, 28.
181 “gray” . . . “I should have”: LC, 76.
181 “Not since Moses”: Quoted in LC, x.
181 “thunderstorm blue” . . . “wet dark”: LC, xix–xx.
182 “Homeric elders”: Anna A. Tavis, “Rilke and Tolstoy: The Predicament of Influence.” The German Quarterly, 65.2, Spring 1992, 192–200.
182 “so totally”: JA, 539.
182 “I will astonish”: Paul Cézanne, Conversations with Cézanne. Edited by P. Michael Doran. Oakland: University of California Press, 2001, 6.
182 “It is the turning”: LC, 57.
182 “the right eyes”: LC, 39.
182 “You can imagine” . . . “I know much”: To Clara Westhoff, October 19, 1907.
183 “It was his task” . . . “whether you can”: Rainer Maria Rilke, The Notebooks of Malte Laurids Brigge. Translation by Stephen Mitchell. New York: Vintage, paperback, 1985, 72.
183 “lines like reliefs:” AR, 29.
183 “through his own”: LC, 305.
184 “This angel is a figure”: Hans Belting, The Invisible Masterpiece. Translated by Helen Atkins. Chicago: University of Chicago Press, 2001, 247.
185 “in a state of blissful” . . . “For me”: FG, 520.
You Must Change Your Life Page 29