Cezanne Quotes - page 3
![Among the ancient painters, the Tuscan's are the ones that interest me more: above all Giotto and Massacio [in early Renaissance]. Of the modern painters I think that Corot, Courbet, Fattori, and Cezanne are the most legitimate heirs to the glorious Italian tradition. (Giorgio Morandi)](https://cdn.quotesdtb.com/img/quotes_images_webp/02/giorgio-morandi-above-ancient-955702.webp)
When you look at a great painting it's like a conversation. It has questions for you. It raises questions in you... Being an artist is about discovering things after you've done them. Like Cézanne – after twenty years of that mountain [Mont St. Victoire] he found out what he was doing. If it isn't a process of discovery, it shows. I'm in it for the long haul.
Kenneth Noland
[.. feel interested in] Things that are not overworked, that are in essence light. In other words, the great Cezannes that are not all filled in.... while I can recognize a master piece that is heavily painted or darkly painted or painted in layers as great and sublime, it would not be my choice to hang a - [inaudible] - for five years if I could instead perhaps have a Cezanne of the kind I just described. Or a certain kind of Matisse. Or one of those large Rubens sketches, where the first breath of feeling is the picture, rather than the labor and the gift.
Helen Frankenthaler
Alas! The memories that are swallowed up in the abyss of the years! I'm all alone now and I would never be able to escape from the self-seeking of human kind anyway. Now it's theft, conceit, infatuation, and now it's rapine or seizure of one's production. But Nature is very beautiful. They can't take that away from me. [in the last conversation Vollard had with Cezanne].
Paul Cézanne
As astronomy and physics inspired the Enlightenment, so biology inspired Modernism. ...This new view led to a reexamination in art of the biological nature of human existence, as evident in Édouard Manet's Déjeuner sur l'Herbe... Manet's painting... reveals a theme... the complex relationship between the sexes and between fantasy and reality. ...also startlingly modern because of its style. Several decades before Cézanne began to collapse three dimension into two, Manet here had already flattened the viewer's sense of perspective...
Eric Kandel
You got very hungry when you did not eat enough in Paris because all the bakery shops had such good things in windows and people ate outside at tables on the sidewalk so that you saw and smelled the food. When you were skipping meals at a time when you had given up journalism and were writing nothing that anyone in America would buy, explaining at home that you were lunching out with someone, the best place to do it was the Luxembourg gardens... There you could always go into the Luxembourg museum and all the paintings were heightened and clearer and more beautiful if you were belly-empty, hollow-hungry. I learned to understand Cézanne much better and to see truly how he made landscapes when I was hungry.
Ernest Hemingway
A work needs only to be interesting. Most works finally have one quality. In earlier art the complexity was displayed and built the quality. In recent painting the complexity was in the format and the few main shapes, which had been made according to various interests and problems. A painting by Newman is finally no simpler than one by Cezanne. In the three-dimensional work the whole thing is made according to complex purposes, and these are not scattered but asserted by one form. It isn't necessary for a work to have a lot of things to look at, to compare, to analyze one by one, to contemplate. The thing as a whole, its quality as a whole, is what is interesting. The main things are alone and are more intense, clear and powerful.
Donald Judd
These great 'Waves' – the one in Berlin ['The Wave' (La Vague), 1869] is prodigious, one of the marvels of the century, far more swollen and palpitating than this one [the painting 'Stormy Sea', Cézanne saw in the Louvre]; a muddier green and a dirtier orange [in 'The Wave' of Berlin] – a tangle of flying spray, a tide drawn from depths of eternity, a ragged sky, the livid sharpness of the whole scene. It seems to hit you full in the chest, you stagger back, the whole room reeks of sea-spray.
Gustave Courbet
The impressionist paintings of Manet, Cezanne and Monsieur Degas, express with exemplary sincerity the new sensations, the new world our eyes experience. Now here the successors to these artists [Seurat & Pissarro ] are trying to perfect the forms created by them. They found in the notes of Delacroix, in the scientific discoveries of Chevreul and Rood, the suggestion for a type of painting in which color impressions are ordered by the combining of little multi-colored brush strokes. But while they were attentive to such improvement of the means, they forgot the true end of art, the sincere and complete expression of vivid sensations. The works of these painters - Pissarro and Seurat are the most notorious - are interesting only as the exercises of highly mannered virtuosos. Their paintings are lifeless for the painters did not strive for sincerity, being too taken up with external formulas.
Georges Seurat
It was because Cézanne could come at reality only through what he saw that he never invented purely abstract forms. Few great artists have depended more on the model. Every picture carried him a little further towards his goal-complete expression; and because it was not the making of pictures but the expression of his sense of the significance of form that he cared about, he lost interest in his work so soon as he had made it express as much as he had grasped. His own pictures were for Cézanne nothing but rungs in a ladder at the top of which would be complete expression. The whole of his later life was a climbing towards an ideal. For him every painting was a means, a step, a stick, a hold, a stepping-stone-something he was ready to discard as soon as it had served his purpose. He had no use for his own pictures. To him they were experiments. He tossed them into bushes, or left them in the open fields to be stumbling-blocks for a future race of luckless critics.
Paul Cézanne
Artists have never worked with the model – just with the painting. What you [G. R. Swenson, the interviewer] are really saying is that an artist like Cézanne transforms what we think the painting ought to look like into something he thinks it ought to look like. He's working with paint, not nature; he's making a painting, he's forming. I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art. What I do is form, whereas the comic strip is not formed in the sense I'm using the word; the comics have shapes but there has been no effort to make them intensely unified. The purpose is different, one intends to depict and I intend to unify.
Paul Cézanne
Very few people ever had the opportunity to see Cézanne at work, because he could not endure being watched while at the easel. For one who has seen him paint, it is difficult to imagine how slow and painful his progress was on certain days. In my portrait there are two little spots of canvas on the hand which are not covered. I called Cézanne's attention to them. "If the copy I'm making in the Louvre turns out well," he replied, "perhaps I will be able tomorrow to find the exact tone to cover up those spots. Don't you see, Monsieur Vollard, that if I put something there by guesswork, I might have to paint the whole canvas over starting from that point?" The prospect made me tremble.
During the period that Cézanne was working on my portrait, he was also occupied with a large composition of nudes, begun about 1895, on which he labored almost to the end of his life.
Paul Cézanne
Picasso is taking Cézanne's elements - the cone, cylinder and sphere - into Cubism. Matisse is taking Cézanne's interest in the wholeness and the clarity of figures. They're taking almost opposite interpretations of what they see in Cézanne: Picasso is understanding it as decomposition, and Matisse is understanding it as composition.
Paul Cézanne
I studied a good deal in the museum at Naples; the Pompeian paintings are extremely interesting from every aspect. So I am staying in the sun – not to paint portraits but while I am warming myself and looking hard at things I hope I will have acquired some of the grandeur and simplicity of the old masters. Raphael didn't work out-of-doors, but he studied the sunlight all the same – his frescoes are full of it. So, by looking around outside, I have finished by seeing only the broad harmonies, and am no longer preoccupied with the little details, which only extinguish the sunlight, instead of increasing its brilliance. I hope therefore, when I get back to Paris, to produce something which will be the outcome of all these general studies, and to give you the benefit of them [in a letter written during his three-weeks-stay, working with Paul Cezanne at l'Estaque, near Marseille].
Pierre-Auguste Renoir