Picasso Quotes - page 2
There is a train track in the history of art that goes way back to Mesopotamia. It skips the whole Orient, The Mayas, And American Indians. Duchamp is on it. Cézanne is on it. Picasso and the Cubists are on it; Giacometti, Piet Mondrian, and so many... I have some feeling about all these people – millions of them – on this enormous track, a way into history. They had a peculiar way of measuring. They seemed to measure with a length similar to their own height... The idea that the thing that the artist is making can come to know for itself, how high it is, how wide and how deep it is, is a historical one, - a traditional one I think. It comes from man's own image.
Willem de Kooning
And finally I must tell you that I was influenced [in Paris, c. 1912/13] by seeing the work of Picasso, whom I 'greatly' admire. I am not ashamed to speak of his influence, for I believe that it is better to be receptive to correction than to be satisfied with one's own imperfection, and to think that one is O so original! Just as so many painters think. And besides, I am surely totally different from Picasso, as one is generally wont to say.
Piet Mondrian
It was during this early period of experiment that I first went to Paris. The time was around 1910 when Cubism was in its beginnings. I admired Matisse, Van Dongen and the other Fauves, but I was immediately drawn to the Cubists, especially to Picasso and Léger. Of all the abstractionists (Kandinsky and the Futurists) I felt that only the Cubists had discovered the right path; and, for a time, I was much influenced by them.
Piet Mondrian
![Picasso was wild about it and said it was one of the best things I have ever made. [on Miro's exhibition in Paris, 1938 where he showed a big frieze, made for a children's room; commissioned by art-dealer Pierre Matisse in New York]. (Joan Miró)](https://cdn.quotesdtb.com/img/quotes_images_webp/91/joan-mir-best-big-474691.webp)
The commitment I have made is terrible and the plastic means appear and disappear at the moment of implementation. It's terrible... And the chaos of will? What law? It's terrible... Then I struggle with sculpture: I work, work and work and I don't know what I give. Is it interior? Is it exterior? Is it sensation? Is it delirium? Is it brain? Analysis? Synthesis? I don't know what the f... it is! Forms on forms.. confusion... The Cubists are wrong. Picasso is wrong. The academics are wrong. We're all a bunch of d.. heads.
Umberto Boccioni
Get all the information you can about the Cubists, and about Georges Braque and Pablo Picasso. Go to Kahnweilers' (Paris art gallery). And if he's got photos of recent works – produced after I have left -, buy one or two. Bring us [the Futurists in Italy, like Boccioni himself] back all the information you can get.
Umberto Boccioni
Colour came into its own with papiers collés.. ..with these works we [Braque, and a little later Picasso, started to make 'collage art', circa 1912] succeeded in dissociating colour from form, in putting it on a footing independent of form, for that was the crux of the matter. Colour acts simultaneously with form, but has nothing to do with form.
Georges Braque
At that time I was very friendly with Picasso. Our temperaments were very different, but we had the same idea. Later on it became clear, Picasso is Spanish and I am French; as everyone knows that mean a lot of differences, but during those days the differences did not count... We were living in Montmartre, we used to meet every day, we used to talk.. .In those years Picasso and I said things to each other that nobody will ever say again, that nobody could say any more.. .It was rather like a pair of climbers roped together.
Georges Braque
When we were so friendly with Picasso, there was a time when we had difficulty in recognizing our own pictures. Later, when the revelation went deeper, differences appeared. Revelation is the one thing that cannot be taken from you. But before the revelation took place, there was still a marked intention of carrying painting in a direction that could re-establish the bond between Picasso and ourselves.
Georges Braque
I considered that the painter's personality should be kept out of things, and therefore pictures should be anonymous. It was I who decided that pictures should not be signed, and for a time Picasso did the same. I thought that from the moment someone else could do the same as myself, there was no difference between the pictures and they should not be signed. Afterwards I realized it was not so and began to sign my pictures again. Picasso had begun again anyhow. I realized that one cannot reveal oneself without mannerism, without some evident trace of one's personality. But all the same one should not go too far in that direction..
Georges Braque
When I was born 20.6. [18]87, I was influenced by Picasso to cry. When I could walk and speak I still stood under Picasso's influence and said to my mother: 'Tom' or 'Happening', meaning the entrances of the canal under the street. My lyrical time was when I lived in the Violet Street. I never saw a violet. That was my influence by Matisse because when he painted rose I did not paint violet. As a boy of ten I stood under Mondrian's influence and built little houses with little bricks. Afterwards I stood under the influence of the Surrealists... I never stood under the influence of Dadaism because whereas the Dadaist created Spiegel-dadaismus (Mirror-Dada) on the Zurich Lake, I created MERZ on the Leine-river, under the influence of Rembrandt. Time went on, and when Hans Arp made concrete Art, I stayed Abstract. Now I do concrete Art, and Marcel Duchamp went over to the Surrealists.... and at all I have much fun about Art.
Kurt Schwitters
The problem which Mondrian undertook to solve in nr. 116 [a new painting of Mondrian, exhibited in a group-exhibition in the Stedelijk Museum in 1915 in Amsterdam] was handled very successfully. This work spiritually dominates all others. It gives the impression of Repose; the repose of the soul. Its predetermined structure embodies 'becoming' rather than 'being'. This represents a true element in art, for art is not 'being', but 'becoming'. The idea of 'becoming' has been expressed in black and white.... Through years of hard work my own experiences have led me, before I came to know the theories of Uexkuell or Picasso, to prefer the use of the white-black-grey palette in works of a purely spiritual content...
Theo van Doesburg
I was already almost 30, and by then everyone was talking about the Americans. Picasso was irrelevant. He was history. I found myself in this deep pool, and there were all these figures swimming around, like Rauschenberg and Warhol and Roy Lichtenstein|Lichtenstein]]. I wanted to go where they were. Seeing Pollock and Fontana in Kassel had given me a sense of what it meant to be a modern artist and take risks, but it was a distant admiration because they were a different generation. This was my generation.
Gerhard Richter
Plastic automatism.... as employed by modern masters, like Masson, Miro, [both artists of Surrealism] and Picasso, is actually very little a question of the unconsciousness. It is much more a plastic weapon with which to invent new forms. As such it is one of the twentieth century greatest formal inventions.
Robert Motherwell
