Henri Rousseau Quotes

Why did you paint a couch in the middle of the jungle?" Rousseau: "Because one has a right to paint one's dreams.

Henri Rousseau was a simple, poorly educated man with an air of innocent naïveté. The Montmartre crowd gave him the nickname “Le Douanier,” meaning “customs officer,” referring to his job as a tax collector.

76. David Hume – Treatise on Human Nature; Essays Moral and Political; An Enquiry Concerning Human Understanding 77. Jean-Jacques Rousseau – On the Origin of Inequality; On the Political Economy; Emile – or, On Education, The Social Contract 78. Laurence Sterne – Tristram Shandy; A Sentimental Journey through France and Italy 79. Adam Smith – The Theory of Moral Sentiments; The Wealth of Nations 80. Immanuel Kant – Critique of Pure Reason; Fundamental Principles of the Metaphysics of Morals; Critique of Practical Reason; The Science of Right; Critique of Judgment; Perpetual Peace 81. Edward Gibbon – The Decline and Fall of the Roman Empire; Autobiography 82. James Boswell – Journal; Life of Samuel Johnson, Ll.D. 83. Antoine Laurent Lavoisier – Traité Élémentaire de Chimie (Elements of Chemistry) 84. Alexander Hamilton, John Jay, and James Madison – Federalist Papers 85. Jeremy Bentham – Introduction to the Principles of Morals and Legislation; Theory of Fictions 86. Johann Wolfgang von Goethe – Faust; Poetry and Truth 87. Jean Baptiste Joseph Fourier – Analytical Theory of Heat 88. Georg Wilhelm Friedrich Hegel – Phenomenology of Spirit; Philosophy of Right; Lectures on the Philosophy of History 89. William Wordsworth – Poems 90. Samuel Taylor Coleridge – Poems; Biographia Literaria 91. Jane Austen – Pride and Prejudice; Emma 92. Carl von Clausewitz – On War 93. Stendhal – The Red and the Black; The Charterhouse of Parma; On Love 94. Lord Byron – Don Juan 95. Arthur Schopenhauer – Studies in Pessimism 96. Michael Faraday – Chemical History of a Candle; Experimental Researches in Electricity 97. Charles Lyell – Principles of Geology 98. Auguste Comte – The Positive Philosophy 99. Honoré de Balzac – Père Goriot; Eugenie Grandet 100. Ralph Waldo Emerson – Representative Men; Essays; Journal 101. Nathaniel Hawthorne – The Scarlet Letter 102. Alexis de Tocqueville – Democracy in America 103. John Stuart Mill – A System of Logic; On Liberty; Representative Government; Utilitarianism; The Subjection of Women; Autobiography 104. Charles Darwin – The Origin of Species; The Descent of Man; Autobiography 105. Charles Dickens – Pickwick Papers; David Copperfield; Hard Times 106. Claude Bernard – Introduction to the Study of Experimental Medicine 107. Henry David Thoreau – Civil Disobedience; Walden 108. Karl Marx – Capital; Communist Manifesto 109. George Eliot – Adam Bede; Middlemarch 110. Herman Melville – Moby-Dick; Billy Budd 111. Fyodor Dostoevsky – Crime and Punishment; The Idiot; The Brothers Karamazov 112. Gustave Flaubert – Madame Bovary; Three Stories 113. Henrik Ibsen – Plays 114. Leo Tolstoy – War and Peace; Anna Karenina; What is Art?; Twenty-Three Tales 115. Mark Twain – The Adventures of Huckleberry Finn; The Mysterious Stranger 116. William James – The Principles of Psychology; The Varieties of Religious Experience; Pragmatism; Essays in Radical Empiricism 117. Henry James – The American; The Ambassadors 118. Friedrich Wilhelm Nietzsche – Thus Spoke Zarathustra; Beyond Good and Evil; The Genealogy of Morals;The Will to Power 119. Jules Henri Poincaré – Science and Hypothesis; Science and Method 120. Sigmund Freud – The Interpretation of Dreams; Introductory Lectures on Psychoanalysis; Civilization and Its Discontents; New Introductory Lectures on Psychoanalysis 121. George Bernard Shaw – Plays and Prefaces

There are two ways of expressing things; one is to show them crudely, the other is to evoke them artistically.

God created man in his own image. And man, being a gentleman, returned the favor.

I’ve discovered my deepest source of inspiration, which is art: the art of the primitives like Henri Rousseau, Gauguin, Paul Klee, and De Chirico.

His books stood neatly along the glassed-in shelves of four vaultlike oak bookcases: the collected Shakespeare, Jefferson’s essays, Thoreau, Paine, Rousseau, Crevecoeur, Locke, Emerson, Hawthorne, Melville, Twain, Dickens, Tolstoy. Henri Bergson, William James, Darwin, Buffon, Lyell, Charles Lamb, Sir Francis Bacon, Lord Chesterton. Swift, Pope, Defoe, Stevenson, Saint Augustine, Aristotle, Virgil, Plutarch. Plato, Sophocles, Homer, Dryden, Coleridge, Shelley, Shaw. A History of Washington State, A History of the Olympic Peninsula, A History of Island County, Gardens and Gardening, Scientific Agriculture, The Care and Cultivation of Fruit Trees and Ornamental

With the growth of civilisation in Europe, and with the revival of letters and of science in the fourteenth and fifteenth centuries, the ethical and intellectual criticism of theology once more recommenced, and arrived at a temporary resting-place in the confessions of the various reformed Protestant sects in the sixteenth century; almost all of which, as soon as they were strong enough, began to persecute those who carried criticism beyond their own limit. But the movement was not arrested by these ecclesiastical barriers, as their constructors fondly imagined it would be; it was continued, tacitly or openly, by Galileo, by Hobbes, by Descartes, and especially by Spinoza, in the seventeenth century; by the English Freethinkers, by Rousseau, by the French Encyclopaedists, and by the German Rationalists, among whom Lessing stands out a head and shoulders taller than the rest, throughout the eighteenth century; by the historians, the philologers, the Biblical critics, the geologists, and the biologists in the nineteenth century, until it is obvious to all who can see that the moral sense and the really scientific method of seeking for truth are once more predominating over false science. Once more ethics and theology are parting company.

During the period when Schoenberg actually hoped to earn an income from the works, forty of his paintings were shown in a small one-man exhibit in Vienna in 1910. Later some of his work was exhibited alongside that of painters such as Franz Marc, Wassily Kandinsky, Henri Rousseau, and Egon Schiele. Gustav Mahler anonymously purchased some of these paintings to help support the painter/composer. In

human nature of their origins runs counter to the prevailing cultural view of the ancient Near East. In the Genesis narrative, we see man becoming a contributor under God in the ongoing work of creation, through the development of culture. We learn that city life is not to be seen as simply a punishment for humanity after the banishment from the garden. Rather the city has inherent capacities for bringing human beings together in such a way that enhances both security and culture making. However, as can be seen in the line of Cain, these capacities, under the influence of sin and rebellion against God, can be generators of great evil. The song of Lamech, Cain’s descendant, shows the Cainite city dwellers using all their advances to form a culture of death (Gen 4:23 – 24). Here is the first clear indicator of the dual nature of the city. Its capability for enormous good — for the culture-making creation of art, science, and technology — can be used to produce tremendous evil. Henri Blocher does not consider it a coincidence that the first mention of anti-God culture making is tied to the first instance of city building, but he warns against drawing the wrong conclusion: It is no doubt significant that [in Genesis 4] progress in arts and in engineering comes from the “city” of the Cainites. Nevertheless, we are not to conclude from this that civilization as such is… the fruit of sin. Such a conclusion would lead us to Manichaeism or to the views of Jean-Jacques Rousseau… The Bible condemns neither the city (for it concludes with the vision of the City of God) nor art and engineering.14 Blocher may be responding to writers such as Geerhardus Vos, who in his Biblical Theology points to “the problem

I have already been told that I do not belong to my century.

Ich glaube, dass Schriftstellerinnen und Schriftsteller so gerne wandern gehen, weil es ein gutes Mittel gegen die dunklen Zustände ist, die einen, ob man es will oder nicht, bei der einsamen Arbeit am Schreibtisch einholen. Nicht selten waren die größten Depressiven der Literaturgeschichte auch die begeistertsten Wandernden. Die Liste der Schreibenden, die mithilfe des Gehens in der Natur ihre Stimmung aufbesserten, ist lang: William und Dorothy Wordsworth, Henry David Thoreau, Robert Louis Stevenson, Goethe natürlich, Rousseau, Nietzsche und viele mehr. Michel de Montaigne liebte es, ziellos durch die idyllische Landschaft des Périgord zu streifen, anderen Menschen begegnete er eher mit Vorsicht. Für Virginia Woolf, die begabteste Romanautorin, die begabteste Wanderin und leider auch die begabteste Depressive von allen, lag die Rettung in den Hügeln von Sussex und an der Steilküste von Cornwall. »Nach der Einsamkeit des eigenen Zimmers« konnte sie nur beim Wandern das »Ich« abwerfen, wie sie einmal sagte. Ich wusste, was sie meinte. Es ging ihr nicht um Selbstfindung. Wenn man wandert, weil es einem nicht gut geht, will man sich nicht finden, oder zumindest zunächst nicht, erst einmal möchte man vor sich weglaufen.

In Europe, it’s a done deal. Jean-Jacques Rousseau’s social contract is being slowly but surely replaced by a life contract inspired by Jeremy Bentham’s utilitarianism and the “panopticon” of his surveillance state.

1908 was also the year in which Picasso bought his first picture by Henri Rousseau: this was a very large canvas, the portrait of Yadwigha, a kind Polish schoolmistress. “It obsessed me from the moment I saw it,” he told Florent Fels. “I was walking along the rue des Martyrs. A second-hand dealer had piles of canvases all along the front of his shop. A head stuck out, a woman’s face with a hard look … French penetration, clarity, decision. A huge canvas. I asked the price. ‘Five francs,’ said the dealer, ‘You can paint over it.’ It is one of the most revealing French psychological portraits.