Cezanne Quotes - page 2
You can't ask a man to talk sensibly about the art of painting if he simply doesn't know anything about it. But by God, how can he [ Zola was his youth friend, who used Cezanne as a model in Zola's novel 'L'Oeuvre'] dare to say that a painter is done because he has painted one bad picture? When a picture isn't realized, you pitch it in the fire and start another one.
Paul Cézanne
Colour is the place where our brain and the universe meet. That's why colour appears so entirely dramatic, to true painters. Look at Sainte-Victoire there [the hill, which Cézanne painted again and again] How it soars, how imperiously it thirsts for the sun!.. For a long time I was quite unable to paint Sainte-Victoire; I had no idea to go about it because, like others who just look at it, I imagined the shadow to be concave, whereas in fact it's convex, it disperses outward from the center. Instead of accumulating, it evaporates, becomes fluid, bluish, participating in the movements of the surrounding air. Just as over there to the right, on the Pilon du Roi, you can see the contrary effect, the brightness gently rocking to and fro, moist and shimmering. That's the sea.... That's one needs to depict. What one needs to know. That's the bath of experience, so to speak...
Paul Cézanne
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-Victoire [later Cezanne made series of paintings of Mont St. Victoire and the crags above Beaurecueil]. I said, 'What a splendid subject'; he replied, 'The lines are too symmetrical'. Referring to 'L'Assommoir' [a novel of Emile Zola ] about which, incidentally, he was the first person to speak to me, he said some very sound things, and praised it, but always from the point of view of technique.
Paul Cézanne
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 1870-71. I divided my time between the field and the studio... Zola closed his letter by urging me to come back to Paris too [in 1872 Cézanne went back to Paris].... but all the same, something told me to go back to Paris. It was too long since I had seen the Louvre. But understand, Monsieur Vollard, I was working at that time on a landscape which was not going well. So I stayed at Aix a little while longer to study on my canvas.
Paul Cézanne
This Cézanne [a 'Still life with Compotier, Fruit and Glass', Cézanne made c. 1879-1882!! ], that you ask me for is a pearl of exceptional quality and I already have refused three hundred francs for it; it is one of my most treasured possessions, and except in absolute necessity, I would give up my last shirt before the picture.
Paul Gauguin
Literary criticism should arise out of a debt of love. In a manner evident and yet mysterious, the poem or the drama or the novel seizes upon our imaginings. We are not the same when we put down the work as we were when we took it up. To borrow an image from another domain: he who has truly apprehended a painting by Cézanne will thereafter see an apple or a chair as he had not seen them before. Great works of art pass through us like storm-winds, flinging open the doors of perception, pressing upon the architecture of our beliefs with their transforming powers. We seek to record their impact, to put our shaken house in its new order. Through some primary instinct of communion we seek to convey to others the quality and force of our experience. We would persuade them to lay themselves open to it. In this attempt at persuasion originate the truest insights criticism can afford.
George Steiner
My work is about structure. It has never been a reaction to Abstract Expressionism. I saw the Abstract Expressionists for the first time in 1954. My line of influence has been the 'structure' of the things I liked: French Romanesque architecture, Byzantine, Egyptian and Oriental art, Van Gogh, Cézanne, Monet, Klee, Picasso, Beckman..
Ellsworth Kelly
![.. of what use is a painting which does not realize its aesthetical problem? Underlying all sensible works of art, there must be somewhere in evidence the particular problems understood. It was so with those artists of the great past who had the intellectual knowledge of structure upon which to place their emotions. It is this structural beauty that makes the old [clssical] painting valuable. And so it becomes to me a problem. I would rather be sure that I had placed two colors in true relationship to each other than to have exposed a wealth of emotionalism gone wrong in the name of richness of personal expression... The real artists have always been interested in this problem, and you feel it strongly in the work of [Leonardo] Da Vinci, Piero della Francesca, Courbet, Pissarro, Seurat, and Cezanne. (Marsden Hartley)](https://cdn.quotesdtb.com/img/quotes_images_webp/68/marsden-hartley-art-beauty-290368.webp)
Every painter must traverse for himself that distance from Paris to Aix (Aix-en-Provence where Paul Cézanne frequently painted in open air] or from Venice to Toledo [where w:El Greco lived and painted for many years]. Expression is for one knowing its own pivot. Every expressor relates solely to himself – that is the concern of the individualist.
Marsden Hartley
Cubism taught me much and the principle of Pissarro, furthered by Seurat, taught me more. These with Cezanne are the great logicians of color.
No one will ever paint like Cezanne for example, because no one will ever have his peculiar visual gifts; or to put it less dogmatically, will anyone ever appear again with so peculiar and almost unbelievable a faculty for dividing color sensations and making logical realizations of them? Has anyone ever placed his color more reasonably with more of a sense of time and measure than he? I think not, and he furnished for the enthusiast of today new reasons for research into the realm of color for itself.
Marsden Hartley
The work of Renoir, after that of Cézanne whose great influence had been manifested among artists, save us from whatever drying effect there is in pure abstraction. The rules that one might deduce in considering the work of these two masters appear to be more difficult to discover in the work of Renoir, who hides his efforts better. Whereas the continuous tension of the mind of Cézanne, his lack of self-confidence, prevent him from giving himself to us entirely even though he shows the evidence of his corrections, from which are easily (too easily) deduced rules that have a mathematical precision.
Henri Matisse
It is not what the artist does that counts. But what he is. Cézanne would never have interested me if he had lived and thought like Jaques-Emile Blanche, even if the apple he had painted had been ten times more beautiful. What interests us is the anxiety of Cézanne, the teaching of Cézanne, the anguish of Van Gogh, in short the inner drama of the man. The rest is false.
Pablo Picasso
I mean that the things I felt and that I enjoyed about certain painters of the past that I liked, that inspired me, like Cézanne and Manet, that thing I enjoyed in their work, that complete losing of oneself in the work to such an extent that the work itself, even though it was a picture of a woman in front of a mirror or some dead fish on the table, the pictures of those men were no pictures to me. They felt as if a living organism was posited there on the canvas, on this surface. That's truly to me the act of creation.
Phillip Guston
To understand Cézanne is to foresee Cubism. Henceforth we are justified in saying that between this school and previous manifestations there is only a difference of intensity, and that in order to assure ourselves of this we have only to study the methods of this realism, which, departing from the superficial reality of Courbet, plunges with Cézanne into profound reality, growing luminous as it forces the unknowable to retreat.
Albert Gleizes
Two or three o'clock in the morning. The sky is blue. Dawn is breaking. Down there, a little way off, they slaughtered cattle, cows bellowed, and I painted them. I used to sit up like that all night long. It's already a week since the studio was cleaned out. Frames, eggshells, empty two-sou soup tins lie about higgledy-piggledy... On the shelves, reproductions of El Greco and Cézanne lay next tot the remains of a herring I had cut in two, the head for the first day, the tail for the next, and Thank God, a few crusts of bread.
Marc Chagall
![Later I had two green ones [alligator pears] - not so perfect. I painted them several times [c. 1920] when the men [American modernist artists, a. o. Marsden Hartley ] didn't think much of what I was doing. They were all discussing Paul Cézanne, with long involved remarks about the 'plastic quality' of his form and colour. I was an outsider. My colour and form were not acceptable. It had nothing to do with Cézanne or anything else. I didn't understand what they were talking about why one colour was better than another... Years later when I finally got to Cézanne's Mont Sainte-Victoire in the south of France, I remember sitting there thinking, 'How could they attach all those analytical remarks to anything he did with that mountain? (Georgia O'Keeffe)](https://cdn.quotesdtb.com/img/quotes_images_webp/83/georgia-o-keeffe-alligator-957783.webp)
.. my favorite artist, when I first began to paint, was actually Cézanne. Later, between 1920 – 1930, I developed a great interest in Chardin [famous for his still-life], w:Vermeer and Corot, too.... that's why you have been able to detect in my works of between 1912 – 1916 some recognizable influences of the early Paris cubists and above all, of Cézanne.
Giorgio Morandi