You Must Change Your Life (40 page)

25
   
“enormous quantity”:
Weaver Santaniello,
Nietzsche, God, and the Jews
. Albany: State University of New York Press, 2012, 32.

25
   
“Thou goest”:
Friedrich Wilhelm Nietzsche,
Thus Spake Zarathustra, a Book for All and None
. London: T. Fisher Unwin, 1908, 87.

27
   
“gentle dreamy”:
LP, 68.

27
   
“no back”:
LP, 60.

27
   
“the famous writer”:
RR, 23.

27
   
“Yesterday was not” . . . “I can think”:
RAS, 3-4.

27
   
“must not”. . . “manly grace”:
LB, 68-69.

27
   
“style of gentle”:
Julia Vickers,
Lou von Salomé: A Biography of the Woman Who Inspired Freud, Nietzsche and Rilke
. Jefferson, NC: McFarland, 2008, 111.

27
   
“fling themselves”:
LYP, 55.

28
   
“pageboy”:
Quoted in Angela Livingstone,
Salomé: Her Life and Work
. East Sussex, UK: M. Bell Limited, 1984, 109.

28
   
“his mother or”:
LP, 113.

28
   
“I am still soft”:
BT, 88.

28
   
“your very name”:
Quoted in Simon Karlinsky,
Marina Tsvetaeva: The Woman, Her World, and Her Poetry
. Cambridge: Cambridge University Press Archive, 1985, 163.

29
   
“What!”:
RR, 96.

29
   
“made a dragon”:
J. F. Hendry,
The Sacred Threshold: A Life of Rainer Maria Rilke
. Manchester, UK: Carcanet New Press, 1983, 32.

30
   
“LAID IN THE HANDS”:
Rainer Maria Rilke and Lou Andreas-Salomé,
The Correspondence
. Translated by Edward Snow and Michael Winkler. New York and London: W. W. Norton, 2006, 157.

30
   
“[Y]ou took my”:
BT, 91.

30
   “
Put out my eyes”:
With permission—Rainer Maria Rilke,
Poems from The Book of Hours
. Translated by Babette Deutsch. New York: New Directions, 1975, 37.

30
   
“be more by”:
Julia Vickers,
Lou von Salomé: A Biography of the Woman Who Inspired Freud, Nietzsche and Rilke
. Jefferson, NC: McFarland, 2008, 142.

31
   
“go away” . . . “I would be capable”:
Quoted in Daniel Bullen,
The Love Lives of the Artists: Five Stories of Creative Intimacy
. Berkeley, CA: Counterpoint, 2013, 33.

CHAPTER THREE

32
   
“terribly hideous” . . . “seemed so dreadful”:
Quoted in Robert K. Wittman and John Shiffman,
Priceless
. New York: Broadway Books, 2011, 37.

33
   
“There are a thousand voices”:
Quoted in Victor Frisch and Joseph T. Shipley,
Auguste Rodin
. Frederick A. Stokes, 1939, 410.

34
   
“There is nothing ugly”:
Auguste Rodin, Paul Gsell,
Art: Conversations with Paul Gsell
. Oakland: University of California Press, 1984, 19.

34
   
“The mask determined” . . . “It was the first”:
Albert E. Elsen,
In Rodin's Studio
. New York: Phaidon, 1980, 157.

35
   
“She didn't have”:
RSG, 48.

35
   
“tough as a cannon ball”:
FG, 618

35
   
“I had put” . . . “she attached herself”:
RSG, 48–49.

35
   
“It is necessary”:
To Clara Westhoff, September 5, 1902. [Rilke's letter quoted Rodin in French,
parce qu'il faut avoir une femme
.]

36
   
“unknown”:
RSG, 49.

36
   
“Dinant is picturesque”:
FG, 93.

36
   
“Hold on!”:
FG, 95.

36
   
“not directly of his works”:
FG, 95.

37
   
“the great magician”:
Catherine Lampert,
Rodin: Sculpture & Drawings
. New Haven, CT: Yale University Press, 1986, 13.

37
   
“study rather than”:
Quoted in T. H. Bartlett, “Auguste Rodin,”
American Architect and Architecture
, volume 25. March 2, 1889, 99.

37
   
“in the absolute”:
RP, 3.

38
   
“I am literally”:
RSG,110.

38
   
“a very rare”:
Jacques De Caso and Patricia B. Sanders,
Rodin's Sculpture
. San Francisco: Fine Arts Museum of San Francisco, 1977, 44.

40
   
“with a fury”:
Quoted in Albert E. Elsen,
Rodin's Art: The Rodin Collection of Iris and B. Gerald Cantor Center of Visual Arts at Stanford University
. Oxford: Oxford University Press, 2003, 21.

40
   
“like an egg”:
Quoted in Marie-Pierre Delclaux,
Rodin: A Brilliant Life
. Paris: Musée Rodin, 2003, 114.

40
   
“his feet” . . . “The fertile”:
Albert E. Elsen,
Rodin's Art: The Rodin Collection of Iris and B. Gerald Cantor Center of Visual Arts at Stanford University
. Oxford: Oxford University Press, 2003, 175.

41
   
“whole body”:
AR, 49.

41
   
“It is my door”:
Albert E. Elsen,
The Gates of Hell by Auguste Rodin
. Redwood City, CA: Stanford University Press, 1985, 60.

42
   
“mishmash” . . . “a man of”:
Edmond De Goncourt and Jules de Goncourt,
Paris and the Arts, 1851–1896: From the Goncourt Journal
. Ithaca, NY: Cornell University Press, 1971, 234.

42
   
“Your favourite qualities”:
Odile Ayral-Clause,
Camille Claudel: A Life
. New York: Harry N. Abrams, 2002, 67.

43
   
“Have pity”:
RSG, 184.

43
   
“rapid and luminous”:
Odile Ayral-Clause,
Camille Claudel: A Life
. New York: Harry N. Abrams, 2002, 50.

44
   
“He's not proud”:
Quoted in Alex Danchev,
Cézanne: A Life
. New York: Pantheon Books, 2012, 281.

45
   
“I merely”:
Stefan Zweig,
The World of Yesterday: An Autobiography
. Lincoln: University of Nebraska Press, 1964, 149.

45
   
“Zola of sculpture” . . . “touched by”:
Frederick Lawton,
The Life and Work of Auguste Rodin
. New York: C. Scribner's, 1907, 247.

46
   
“hit me like a”:
FG, 233.

47
   
“This young nude”:
Quoted in Angelo Caranfa,
Camille Claudel: A Sculpture of Interior Solitude
. Plainsboro, NJ: Associated University Presses, 1999, 103.

47
   
“her soul, genius”:
Quoted in John R. Porter, “The Age of Maturity or Fate.”
Claudel and Rodin: Fateful Encounter
. Paris: Musée Rodin, 2005, 193.

47
   
“I am so” . . . “millionaire”:
Angelo Caranfa,
Camille Claudel: A Sculpture of Interior Solitude
. Plainsboro, NJ: Associated University Presses, 1999, 28.

CHAPTER FOUR

48
   
“Behind those walls” . . . “the great emporium”:
Janine Burke,
The Sphinx on the Table: Sigmund Freud's Art Collection and the Development
. New York: Bloomsbury, 2009, 74.

50
   
“Napoleon” . . . “wilderness of”:
Quoted in Asti Hustvedt,
Medical Muses: Hysteria in Nineteenth-Century Paris
. London: A&C Black, 2012, 12–15.

50
   
“Charcot was perfectly”:
Ernest Jones,
Sigmund Freud: Life and Work: The young Freud, 1856–1900
. London: Hogarth Press, 1953, 228.

50
   
“a man who sees”:
Quoted in Peter Gay,
Freud: A Life for Our Time
. New York: W. W. Norton, 2006, 51.

51
   
“whitewash” . . . “screaming”:
Max Simon Nordau,
Degeneration
. New York: D. Appleton, 1895, 28.

51
   
“Does an inspired” . . . “I had to”:
Albert E. Elsen,
In Rodin's Studio
. New York: Phaidon, 1980, 183.

52
   
“Help me” . . . “I did not”:
RP, 94.

53
   
“absolutely beautiful”:
Quoted in Sylvie Patin,
Monet: The Ultimate Impressionist
. New York: Harry N. Abrams, 1993, 142.

53
   
“goregous”:
Quoted in RSG, 317.

53
   
“the hope that in”:
Quoted in “Rodin and Monet,” Musée Rodin Educational Files.

54
   
“I have made”:
FG, 384.

54
   
“financial disaster”:
RP, 94.

54
   
“Motor cars” . . . “When Rodin's”:
RSG, 384.

55
   
“Like Rembrandt”:
William G. Fitzgerald, “A Personal Study of Rodin.” In
The World's Work: A History of Our Time
, volume 11. New York: Doubleday, Page, 1905, 6818–6834.

55
   
“Once you had seen”:
FG, 406.

58
   
“Unfortunately I won't” . . . “then I'll ask”:
DF, 53.

58
   
“Smaller men”:
FG, 406.

59
   
“If Paris”:
William G. Fitzgerald, “A Personal Study of Rodin.” In
The World's Work: A History of Our Time
, volume 11. New York: Doubleday, Page, 1905, 6818–6834.

59
   
“royal road”:
Sigmund Freud,
The Interpretation of Dreams
. Translated by James Strachey. New York: Basic Books, 2010, 604.

60
   
“a phantasmagoria”:
Walter Benjamin, “Paris, Capital of the Nineteenth Century.” In
Walter Benjamin and the Demands of History
, Michael P. Steinberg. Ithaca, NY: Cornell University Press, 1996, 139.

61
   
“There's not even”:
FG, 411.

62
   
“Where is his head?” . . . “Don't you know”:
Isadora Duncan,
My Life
. New York: W. W. Norton, revised and updated edition, 2013, 55.

62
   
“the most modern” . . . “literally epoch-making”:
RP, 104.

62
   
“I was there” . . . “has captured”:
PMB, 185, 192.

CHAPTER FIVE

64
   
“How large the”:
DYP, 163.

64
   
“I place great trust” . . . “Here I can”:
DYP, 175.

65
   
“contrived” . . . “labored”:
DYP, 143.

65
   
“a difficult” . . . “battle of”
: PMB, 198.

66
   
“beautiful dark face”
DYP, 155–156.

66
   
“I shake hands”:
DYP, 146.

66
   
“sickening”:
DYP, 155–156.

66
   
“disfigured”:
DYP, 157.

66
   
“half held in thrall”:
Daniel Joseph Polikoff,
In the Image of Orpheus
. Wilmette, IL: Chiron Publications, 2011, 202

67
   
“The Russian journey”:
DYP, 195.

67
   
“we made toward”:
DYP, 168.

67
   
“blond painter”:
DYP, 151.

67
   
“a delusion”:
AR, 18.

68
   
“my speeches with”:
To Clara Westhoff, November 18, 1900.

68
   
“
I
wanted to be the wealthy” . . . “the most insignificant”:
BT, 117.

68
   
“maiden”:
Common reference throughout DYP.

68
   
“Clara W.”:
PMB, 496.

68
   
“have his welfare” . . . “be guided”:
PMB, 242.

69
   
“Cooking, cooking” . . . “You know”:
PMB, 255.

69
   
“I no longer seem” . . . “I have to first”:
PMB, 265.

69
   
“last appeal” . . . “worst hour”:
RAS, 41–42.

69
   
“sink like suns into”:
To Clara Westhoff, October 23, 1900.

70
   
“the meaning of”:
To Julie Weinmann, June 25, 1902.

70
   
“the beautiful biblical”:
DF, 113.

71
   
“Life has become”:
To Julie Weinmann, June 25, 1902.

71
   
“little creature”:
To Countess Franziska von Reventlow, April 11, 1902.

71
   
“so very housebound” . . . “I now have everything”:
PMB, 267.

71
   
“I don't know” . . . “please, please”:
PMB, 268–269. (Note: Becker's misspelling of Rilke's name as “Reiner” may have been an intentional double entendre, alluding to his pretension: “Reiner” is the German word for “pure.”)

72
   
“rejoice” . . . “I consider”:
PMB, 270.