Quotes of All Topics . Occasions . Authors
Hatred, rancor, and the spirit of vengeance are useless baggage to the artist. His road is difficult enough for him to cleanse his soul of everything which could make it more so.
An artist must possess Nature. He must identify himself with her rhythm, by efforts that will prepare the mastery which will later enable him to express himself in his own language.
Truth and reality in art do not arise until you no longer understand what you are doing and are capable of but nevertheless sense a power that grows in proportion to your resistance.
I am curious about color as one would be visiting a new country, because I have never concentrated so closely on color expression. Up to now I have waited at the gates of the temple.
Ever since there have been men, man has given himself over to too little joy. That alone, my brothers, is our original sin. I should believe only in a God who understood how to dance.
The sign for which I forge an image has no value if it doesn't harmonize with other signs, which I must determine in the course of my invention and which are completely peculiar to it.
I don't know whether I believe in God or not. I think, really, I'm some sort of Buddhist. But the essential thing is to put oneself in a frame of mind which is close to that of prayer.
The effort to see things without distortion takes something like courage and this courage is essential to the artist, who has to look at everything as though he saw it for the first time.
A rapid rendering of a landscape represents only one moment of its existence. I prefer, by insisting upon its essential character, to risk losing charm in order to gain greater stability.
The living model, the naked body of a woman, is the privileged seat of feeling, but also of questioning... The model must mark you, awaken in you an emotion which you seek in turn to express.
You must forget all your theories, all your ideas before the subject. What part of these is really your own will be expressed in your expression of the emotion awakened in you by the subject.
Put a colour upon a canvas - it not only colours with that colour the part of the canvas to which the colour has been applied, but it also colours the surrounding space with the complementary.
The model for me is a touchstone, it is a door which I must break open in order to reach the garden in which I am alone and feel good, even the model exists only for what use I can make of it.
There is no interruption between my older paintings and my cutouts. Just that with an increasing sense of the absolute, and more abstraction, I have achieved a form that is simplified to its essence.
All that is not useful in a picture is detrimental. A work of art must be harmonious in its entirety; for superfluous details would, in the mind of the beholder, encroach upon the essential elements.
What's so astonishing about not understanding? There are so many things in art, beginning with art itself, that one doesn't understand. A painter doesn't see everything that he has put in his painting.
I do not repudiate any of my paintings but there isn't one of them that I would not redo differently, if I had it to redo. My destination is always the same but I work out a different route to get there.
In art, truth and reality begin when one no longer understands what one is doing or what one knows, and when there remains an energy that is all the stronger for being constrained, controlled and compressed.
Truth and reality in art begin at the point where the artist ceases to understand what he is doing and capable of doing - yet feels in himself a force that becomes steadily stronger... and more concentrated.
When a painting is finished, it's like a new born child, and the artist himself must have time for understanding. How then do you expect an amateur to understand that which the artist dos not yet comprehend.
Each work of art is a collection of signs invented during the picture's execution to suit the needs of their position. Taken out of the composition for which they were created, these signs have no further use.
If it is practiced by a man of taste, the photograph will have the appearance of art (but) the photographer must...intervene as little as possible, so as not to lose the objective charm which it naturally possesses.
Truly, I'm not joking when I thank my lucky stars for the awful operation I had, since it has made me young again and philosophical which means that I don't want to fritter away the new lease on life I've been given.
Perhaps I might be satisfied, momentarily, with a work finished at one sitting, but I would soon get bored looking at it; therefore, I prefer to continue working on it so that later I may recognize it as a work of my mind.
Composition, the aim of which is expression, alters itself according to the surface to be covered. If I take a sheet of paper of given dimensions, I will jot down a drawing which will have a necessary relation to its format.
Colours have their own distinctive beauty that you have to preserve, just as in music you try to preserve sounds. It is a question of organization, of finding the arrangement that will keep the beauty and freshness of the colour
The role of the artist, like that of the scholar, consists of seizing current truths often repeated to him, but which will take on new meaning for him and which he will make his own when he has grasped their deepest significance.
What I dream of is an art of balance, of purity and serenity devoid of troubling or depressing subject matter - a soothing, calming influence on the mind, rather like a good armchair which provides relaxation from physical fatigue.
An artist who wants to transpose a composition onto a larger canvas must conceive it over again in order to preserve its expression; he must alter its character and not just fill in the squares into which he has divided his canvas.
A distinction is made between artists who work directly from nature and those who work purely from imagination. Neither if these methods should be preferred to the exclusion of the other. Often both are used in turn by the same man.
The sign is determined at the moment I use it and for the object of which it must form a part. For this reason I cannot determine in advance signs which never change, and which would be like writing: that would paralyze the freedom of my invention.
Love wants to rise, not to be held down by anything base... He who loves flies, runs, and rejoices; he is free and nothing holds him back. Derive happiness from yourself, from a good day's work, from the clearing that it makes in the fog that surrounds us.
Composition is the art of arranging in a decorative manner the various elements which the painter uses to express his sentiments. In a picture every separate part will be visible and... everything which has no utility in the picture is for that reason harmful.
Expression for me does not reside in passions glowing in a human face or manifested by violent movement. The entire arrangement of my picture is expressive; the place occupied by my figures, the empty space around them, the proportions, everything has its share.
I don't paint women, I paint pictures. . . What I am after above all is expression. If in a portrait I put eyes, a nose, a mouth, there isn't much use; on the contrary it paralyses the imagination of the spectator, and obliges us to see the person in a certain way.
The essential thing is to spring forth, to express the bolt of lightning one senses upon contact with a thing. The function of the artist is not to translate an observation but to express the shock of the object on his nature; the shock, with the original reaction.
I cannot copy nature in a servile way; I am forced to interpret nature and submit it to the spirit of the picture. From the relationship I have found in all the tones there must result a living harmony of colors, a harmony analogous to that of a musical composition.
The splitting up of color [as Impressionists did] brought the splitting up of form and contour . . . Everything is reduced to a mere sensation of the retina, but one which destroys all tranquility of surface and contour. Objects are differentiated only by the luminosity that is given them.
Photographs will always be impressive because they show us nature, and all artists will find in them a world of sensations. The photographer must therefore intervene as little as possible, so as not to cause photography to lose the objective charm which it naturally possesses, notwithstanding its defects.
From Bonheur de Vivre - I was thirty-five then - to this cut-out - I am eighty-two - I have not changed; not in the way my friends mean who want to compliment me, no matter what, on my good health, but because all this time I have looked for the same things, which I have perhaps realized by different means.
The arts have a development which comes not only from the individual but also from a whole acquired force, the civilization which precedes us. One cannot do just anything. A talented artist cannot do whatever he pleases. If he only used his gifts, he would not exist. We are not the masters of what we produce. It is imposed on us.
It would be a mistake to ascribe this creative power to an inborn talent. In art, the genius creator is not just a gifted being, but a person who has succeeded in arranging for their appointed end, a complex of activities, of which the work is the outcome. The artist begins with a vision — a creative operation requiring an effort. Creativity takes courage.
It is my dream to create an art which is filled with balance, purity and calmness, freed from a subject matter that is disconcerting or too attention-seeking. In my paintings, I wish to create a spiritual remedy, similar to a comfortable armchair which provides rest from physical expectation for the spiritually working, the businessman as well as the artist.
If people knew what Matisse, supposedly the painter of happiness, had gone through, the anguish and tragedy he had to overcome to manage to capture that light which has never left him, if people knew all that, they would also realize that this happiness, this light, this dispassionate wisdom which seems to be mine, are sometimes well-deserved, given the severity of my trials.
My choice of colors does not rest on any scientific theory; it is based on observation, on feeling, on the experience of my sensibility. Inspired by certain pages of Delacroix, an artist like Signac is preoccupied with complementary colors, and the theoretical knowledge of them will lead him to use a certain tone in a certain place. But I simply try to put down colors which render my sensation.
Slowly I discovered the secret of my art. It consists of a meditation on nature, on the expression of a dream which is always inspired by reality. With more involvement and regularity, I learned to push each study in a certain direction. Little by little the notion that painting is a means of expression asserted itself, and that one can express the same thing in several ways. Exactitude is not truth, Delacroix liked to say.
I didn't expect to recover from my second operation but since I did, I consider that I'm living on borrowed time. Every day that dawns is a gift to me and I take it in that way. I accept it gratefully without looking beyond it. I completely forget my physical suffering and all the unpleasantness of my present condition and I think only of the joy of seeing the sun rise once more and of being able to work a little bit, even under difficult conditions.
Everything that we see in our daily lives is more or less distorted by acquired habits and this is perhaps more evident in an age like ours when cinema posters and magazines present us every day with a flood of ready-made images which are to the eye what prejudices are to the mind. The effort to see things without distortion demands a kind of courage; and this courage is essential to the artist, who has to look at everything as though he were seeing it for the first time.
I have always sought to be understood and, while I was taken to task by critics or colleagues, I thought they were right, assuming I had not been clear enough to be understood. This assumption allowed me to work my whole life without hatred and even without bitterness toward criticism, regardless of its source. I counted solely on the clarity of expression of my work to gain my ends. Hatred, rancor, and the spirit of vengeance are useless baggage to the artist. His road is difficult enough for him to cleanse his soul of everything which could make it more so.