Delsarte tells me that Mozart stole outrageously from Galuppi, in the same way, I suppose, that Molière stole from anybody anywhere, if he found something work taking. I said that what was Mozart had not been stolen from Galuppi, or from anyone else for that matter.
Glory to that Homer of painting, to that father of warmth and enthusiasm... he really paints men.
Weaknesses in men of genius are usually an exaggeration of their personal feeling; in the hands of feeble imitators they become the most flagrant blunders. Entire schools have been founded on misinterpretations of certain aspects of the masters. Lamentable mistakes have resulted from the thoughtless enthusiasm with which men have sought inspiration from the worst qualities of remarkable artists because they are unable to reproduce the sublime elements in their work.
What I have done cannot be taken from me.
One should not be too difficult. An artist should not treat himself like an enemy.
The so-called conscientiousness of the majority of painters is only perfection applied to the art of boring.
Curiously enough, the Sublime is generally achieved through want of proportion.
We should not allow ourselves to believe that writers like Poe have more imagination than those who are content with describing things as they really are. It is surely easier to invent striking situations in this way than to tread the beaten track which intelligent minds have followed throughout the centuries.
There is a man whose qualities can be savored by people who are getting old... The painter qualities are carried to the highest point in his work: what he does is done - through and through; when he paints eyes, they are lit with the fire of life.
The artist is always concerned with a total view of the world. However, when the photographer takes a picture ... the edge of his picture is just as interesting as the middle, one can only guess at the existence of a whole, and the view presented seems chosen by chance.
In every art we are always obliged to return to the accepted means of expression, the conventional language of the art. What is a black-and-white drawing but a convention to which the beholder has become so accustomed that with his mind's eye he sees a complete equivalent in the translation from nature?
Take hold of objects by their centres, not by their lines of contour... The contour accentuated uniformly and beyond proportion, destroys plasticity, bringing forward those parts of an object which are always most distant from the eye - namely its outlines.
Not only can color, which is under fixed laws, be taught like music, but it is easier to learn than drawing, whose elaborate principles cannot be taught.
Let a man of genius make use [of photography] as it should be used, and he will raise himself to a height that we do not know.
If painters left nothing of themselves after their deaths, so that we were obliged to rank them as we do actors according to the judgment of their contemporaries, how different their reputations would be from what posterity has made them!
I live in company with a body, a silent companion, exacting and eternal. He it is who notes that individuality which is the seal of the weakness of our race. My soul has wings, but the brutal jailer is strict.
Give me some mud, and I will paint you a woman's flesh.
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