What I so like about Poussin and Cezanne is their sense of organization. Ilike the way in which they develop space and shape in architecturalcontinuity - the rhythm across their paintings. When I paint a landscape, Iget the greatest pleasure out of composing it. As I paint, I try to work outa visual sonata form or a fugue, with realistic images.
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As far as modern writing is concerned, it is rarely rewarding to translate it, although it might be easy. Translation is very much like copying paintings.
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In this world, artists are joyous. Unpredictability is the life of their paintings, their music, their novels. They delight in events not forecasted, happenings without explanation, retrospective.
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I always feel the desire to look for the extraordinary in ordinary things; to suggest, not to impose, to leave always a slight touch of mystery in my paintings.
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I had rather see the portrait of a dog that I know, than all the allegorical paintings they can show me in the world.
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The upshot was, my paintings must burn that English artists might finally learn.
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I like to go to art museums and name the untitled paintings... Boy With Pail... Kitten On Fire...
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Not everybody trusts paintings, but people believe photographs
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I would rather see the portrait of a dog that I know, than all the allegorical paintings they can show me in the world.
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All still lifes are actually paintings of the world on the sixth day of creation, when God and the world were alone together, without man!
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It is not your paintings I like, it is your painting.
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Paintings have a life of their own that derives from the painter's soul.
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I have heard of your paintings too, well enough; God has given you one face, and you make yourselves another.
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I have heard of your paintings too, well enough God has given you one face, and you make yourselves another.
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