What surprising fellows those French painters are. A Millet, Delacroix, Corot, Troyon, Daubigny, Rousseau, and a Daumier.... Something else about Delacroix - he had a discussion with a friend about the question of working absolutely from nature, and said on that occasion that one should take one's 'studies' from nature - but that the 'actual painting' had to be made 'by heart'. This friend was walking along the boulevard when they had this discussion - which was already fairly heated. When they parted the other man was still not entirely persuaded. After they parted, Delacroix let him stroll on for a bit - then (making a trumpet of his two hands) bellowed after him in the middle of the street - to the consternation of the worthy passers-by: 'By heart! By heart!
Vincent van GoghRelated topics
bit boulevard consternation french friend heart making man middle nature occasion passer-by question should something street surprising take walking working worthy hands Rousseau Corot DelacroixRelated quotes
I met him Cummingham around 1953 after a performance I saw. He was teaching and making dances for his company and was already working with John Cage. What interested me initially wasn't just the movement but also the music he worked with, which was unfamiliar to me... Later Bob Rauschenberg had been doing sets and costumes for the Cunningham Company... I can't say exactly how, but for a period of time, Cage, Cunningham, Rauschenberg, and I saw each other frequently and exchanged ideas. John [Cage] was very interested in presenting his ideas to other people, so it was impossible to be around and not to learn... He could apply his ideas on space and time to painting, or music or architecture... I don't have a clear sense of cause and effect in my painting, but it is probably there.
Jasper Johns
I do not believe that our friends at the South have any just idea of the state of feeling, hurrying at this moment to a pitch of intense exasperation, between those who respect their political obligations, and those who apparently have no impelling power but that which a fanatical position on the subject of domestic Slavery imparts. Without discussing the question of right - of abstract power to secede - I have never believed that actual disruption of the Union can occur without blood; and if, through the madness of Northern Abolitionists, that dire calamity must come, the fighting will not be along Mason's and Dixon's line merely. It [will] be within our own borders, in our own streets, between the two classes of citizens to whom I have referred.
Franklin Pierce
It seems to me that today the Surrealist crisis is the central problem in French art. It is essential for future development that this crisis should be solved... The principal error in the aesthetic program of Surrealism is that it is too literary. Painters have experimented with visions, images, dreams, but not with painting, not with color.. .The unpainterliness of Surrealism has inevitably produced a reaction among younger painters. [Jorn is thinking here of French painters such as Bazaine, Esteve, Lapique, Singier, Le Moal, and he suggests there should be reciprocity].. .These artists cannot get any further unless they absorb the lessons of Surrealism into their painting, just as Surrealists can only advance if they adopt the painterly methods of the other group.
Asger Jorn
Everything we look at disperses and vanishes. doesn't it? Nature is always the same, and yet its appearance is always changing... Painting must give us the flavour of nature's eternity. Everything, you understand. So I join together nature's straying hands.... From all sides, here there and everywhere, I select colours, tones and shades; I set them down, I bring them together.... They make lines, they become objects – rocks, trees – without my thinking about them.... But if there is the slightest distraction, the slightest hitch, above all if I interpret too much one day, if I'm carried away today by a theory which contradicts yesterday's, if I think while I'm painting, if I meddle, then woosh!, everything goes to pieces.
Paul Cézanne
Thus, almost everything is imitation. The idea of The Persian Letters was taken from The Turkish Spy. Boiardo imitated Pulci, Ariosto imitated Boiardo. The most original minds borrowed from one another. Miguel de Cervantes makes his Don Quixote a fool; but pray is Orlando any other? It would puzzle one to decide whether knight errantry has been made more ridiculous by the grotesque painting of Cervantes, than by the luxuriant imagination of Ariosto. Metastasio has taken the greatest part of his operas from our French tragedies. Several English writers have copied us without saying one word of the matter. It is with books as with the fire in our hearths; we go to a neighbor to get the embers and light it when we return home, pass it on to others, and it belongs to everyone.
Voltaire