I've never been to heaven and, thinking back on my life, I probably won't get a chance to go. I guess the Masters is as close as I'm going to get.
Titian, Tintoretto, and Paul Veronese absolutely enchanted me, for they took away all sense of subject... It was the poetry of color which I felt, procreative in its nature, giving birth to a thousand things which the eye cannot see, and distinct from their cause.
What has been done in the world - the works of genius - cost nothing. There is no painful effort, but it is the spontaneous flowing of the thought. Shakespeare made his Hamlet as a bird weaves its nest.
What I am looking for is a masterpiece. I don't want to waste my time. I am tired of experiments.
Pablo Casals is a great musician in all he does: a cellist without equal, and extraordinary conductor and composer with something to say. I have been profoundly impressed by all I have heard of his work, but he is a musician of this stature because he is also a great man.
I intend to do a large painting of the cliff at Etretat, although it is terribly bold of me to do so after Courbet has painted it so admirably, but I will try to do it in a different way.
I don't think about winning the Masters as part of the slam. You want to win the Masters because of what it means to the game.
If you set out to copy after one master today and after one tomorrow, you will not acquire the style of either one or the other, and you will inevitably become fantastic, because each style will fatigue your mind.
It is impossible to tell you the perfect sweetness of the lips and closed eyes, nor the solemnity of the seal of death which is set upon the whole figure. It is, in every way, perfect--truth itself, but truth selected with inconceivable refinement of feeling.
This art of conservation is strength, and makes the masterpiece a masterpiece. Otherwise, the man who simply brought all the different colors obtainable, and squeezed them out upon the canvas to give it 'full force,' would be the greatest master, instead of being merely extravagant.
Follow the masters! But why should one follow them? The only reason they are masters is that they didn't follow anybody!
There is always, in the fine arts, a physical interface between the artist's esthetic vision and the material result he seeks. The interface may be the application of brush to canvas, chisel to marble, bow to string... It may be the control of voice in song or the control of body in dance. It is the mastery of the interface that comprises the artistry; it is what constitutes the 'art' in fine art.
I take back all I ever said about the Old Masters. They give great lessons.
I have been told that a young would-be composer wrote to Mozart asking advice about how to compose a symphony. Mozart responded that a symphony was a complex and demanding form and it would be better to start with something simpler. The young man protested, 'But, Herr Mozart, you wrote symphonies when you were younger than I am now.' Mozart replied, 'I never asked how.
It is to Titian we must turn our eyes to find excellence with regard to color, and light and shade, in the highest degree. He was both the first and the greatest master of this art. By a few strokes he knew how to mark the general image and character of whatever object he attempted.
The air we see in the paintings of the old masters is never the air we breathe.
In their pursuit of the same supreme end, Matisse and Picasso stand side by side, Matisse representing color and Picasso form.
I refused [to study under Rodin] because nothing grows under large trees.
The masterpiece should appear as the flower to the painter - perfect in its bud as in its bloom - with no reason to explain its presence - no mission to fulfill - a joy to the artist, a delusion to the philanthropist - a puzzle to the botanist - an accident of sentiment and alliteration to the literary man.
Mastery is an elusive concept. You never know when you achieve it absolutely and it may not help you to feel you've attained it. We can recognize it more readily in others than we can in ourselves. We have to discover our own definition of it.
Choose only one master - Nature.
If the Masters offered no money at all, I would be here trying just as hard.
We cannot all be masters.
Bless... the two painting masters who first pointed out to me that there was coming and going among trees, that there was sunlight in shadows.
Whoever controls the volume of money in any country is absolute master of all industry and commerce.
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