All Quotes

“Oda a la Bella Desnuda (Ode to a Beautiful Nude) , from Nuevas Odas Elementales (1956), trans. Nathaniel Tarn in Selected Poems by Pablo Neruda [Houghton Mifflin, 1990, ISBN 0”

“Mi amor se nutre de tu amor, amada My love feeds on your love, beloved From "Si Tu Me Olvidas"”

“Soliloquio en Tinieblas (Soliloquy at Twilight) from Estravagario (Book of Vagaries) (1958).”

“La Barcarola Termina (The Watersong Ends) (1967), trans. Anthony Kerrigan in Selected Poems by Pablo Neruda [Houghton Mifflin, 1990, ISBN 0”

“Among the several sins that I have been accused of committing, none is more false than the one that I have, as the principal objective in my work, the spirit of research . When I paint my object is to show what I have found and not what I am looking for. In art intentions are not sufficient and, as we say in Spanish , love must be proved by facts and not by reasons... [Paris 1923]. As quoted in Futurism , ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 311”

“When I hear people speak of the evolution of an artist, it seems to me that they are considering him standing between two mirrors that face each other and reproduce his image an infinite number of times, and that they contemplate the successive images of one mirror as his past, and the images of the other mirror as his future, while his real image is taken as his present. They do not consider that they all are the same images in different planes... [Paris 1923]. As quoted in Futurism , ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 311”

“They speak of naturalism in opposition to modern painting . I would like to know if anyone has ever seen a natural work of art. Nature and art , being two different things, cannot be the same thing. Through art we express our conception of what nature is not. Velasquez left us his idea of the people of his epoch. Undoubtedly they were different from what he painted them, but we cannot conceive a Philip IV in any other way than the one Velasquez painted... [Paris 1923]. As quoted in Futurism , ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 312”

“I can hardly understand the importance given to the word research in connection with modern painting. In my opinion to search means nothing in painting. To find is the thing. Nobody is interested in following a man who, with his eyes fixed on the ground, spends his life looking for the purse that fortune should put in his path. The one who finds something no matter what it might be, even if his intention were not to search for it, at least arouses our curiosity, if not our admiration. p. 315”

“We all know that Art is not truth . Art is a lie that makes us realize truth, at least the truth that is given us to understand. The artist must know the manner whereby to convince others of the truthfulness of his lies. If he only shows in his work that he has searched, and re”

“Cubism is no different from any other school of painting. The same principles and the same elements are common to all. The fact that for a long time cubism has not been understood and that even today there are people who cannot see anything in it, means nothing. I do not read English, and an English book is a blank to me. This does not mean that the English language does not exist, and why should I blame anyone but myself if I cannot understand what I know nothing about? p. 319.”

“Variation does not mean evolution. If an artist varies his mode of expression this only means that he has changed his manner of thinking, and in changing, it might be for the better or it might be for the worse. p. 391.”

“Many think that Cubism is an art of transition, an experiment which is to bring ulterior results. Those who think that way have not understood it. Cubism is not either a seed or a foetus, but an art dealing primarily with forms, and when a form is realized it is there to live its own life. A mineral substance, having geometric formation, is not made so for transitory purposes, it is to remain what it is and will always have its own form. p. 323.”

“Mathematics , trigonometry , chemistry , psychoanalysis , music , and what not have been related to cubism to give it an easier interpretation. All this has been pure literature , not to say nonsense, which brought bad results, blinding people with theories. Cubism has kept itself within the limits and limitations of painting, never pretending to go beyond it.”

“The idea of research has often made painting go astray, and made the artist lose himself in mental lucubrations. Perhaps this has been the principal fault of modern art. The spirit of research has poisoned those who have not fully understood all the positive and conclusive elements in modern art and has made them attempt to paint the invisible and, therefore, the unpaintable.”

“I've ripped it to pieces; your portrait, you know. I tried to work on it this morning, but it went from bad to worse, so I destroyed it.. Quote of Cezanne, from his letter to Emile Zola , ca 1861; as quoted in Cezanne , by Ambroise Vollard , Dover publications Inc. New York, 1984, p. 23”

“Don't you think your Corot [to Guilemet the painter] is a little short on temperament? I'm painting a portrait of Vallabreque; the highlight on the nose is pure vermilion [remark of Cezanne ca. 1860] Quote in: Cézanne , by Ambroise Vollard , Dover publications Inc. New York, 1984, p. 28”

“He (the painter Manet ) hits of the tone.. ..but his work lacks unity and temperament too. (ca. 1863) Quote in: Cézanne , by Ambroise Vollard , Dover publications Inc. New York, 1984, p. 27”

“At Aix ( Aix en Provence ) I am not free; whenever I want to return to Paris , I always have to put up a fight, and, although your (his father) opposition may not be absolute, I am always deeply affected by the resistance that I encounter from you. I sincerely want my liberty unfettered.. ..it would give me great pleasure to work in the Midi, some aspects of which offer many resources to the painter; there I would be able to attack some of the problems that I wish to solve. Quote in Cezanne's letter to his father in Aix; ca. 1871”

“Listen, monsieur Vollard , I worked a lot out of doors at L'Estaque . Except for that there was no other event of importance in my life during the years 1870”

“'The very opposite of 'modeling' meant roughly that Cézanne and Pissarro in their common painting”

“I had the company of monsieur Gibert. Such people see clearly, but they have the teacher's eye. As the train was taking us past Alexis' place a staggering subject for a picture came into view towards the east: St”

“I saw Monet and Renoir at about the end of December; they had been on holiday in Genoa, in Italy. Quote in Cezanne's letter to Emile Zola , 23rd February 1884; as quoted in Renoir”

“You positively paint like a madman. As quoted in: 'Mercure de France', 16 December 1908, p. 607”

“remark to Vincent van Gogh , ca. 1886 in Paris. Van Gogh showed Cezanne some of his recent paintings, he recently made in Paris”

“My Dear Mr. Pissarro ;”

“Gauguin accepted membership in the Societe Anonyme Cooperative des Artistes Peintres, Sculpteurs, Graveurs, formed in 1873 by Pissarro, Claude Monet , Pierre”

“This Cézanne [a 'Still life with Compotier, Fruit and Glass', Cézanne made c. 1879”

“How do you see this tree? Is it really green? Use green, then, the most beautiful green on your palette. And that shadow, rather blue? Don't be afraid to paint it as blue as possible. Comment voyez”

“Quote from a conversation in 1888, Pont”

“With this painting , I tried to make everything breathe faith, quiet suffering, religious and primitive style and great nature with its scream. in a letter to Theo van Gogh (1889”