Watteau Quotes

I recommend [the students] that you should work actively at the Hermitage and study the artistic structures of Rubens, Rembrandt, Titian, Watteau, Poussin, and other painters, even Chardin, where he is an artist. Study very closely their dabbing manner of execution and try to copy a small piece of canvas, just one square inch. (Kazimir Malevich)

But I would like to think for a moment about a man who in the morning teaches his students that a false attribution of a Watteau drawing or an inaccurate transcription of a fourteenth-century epigraph is a sin against the spirit and in the afternoon or evening transmits to the agents of Soviet intelligence classified, perhaps vital information given to him in sworn trust by his countrymen and intimate colleagues. What are the sources of such scission? How does the spirit mask itself?

George Steiner

. Here [ Guernsey ] people bath among the rocks which serve as cabins, since there's nothing else; nothing is more attractive than this mixture of women and men crowded on these rocks. One would belief oneself in a landscape by Watteau rather than in the real world. So I'll have a source of real and graceful motives which I will be able to make use of. Some enchanting bathing-costumes... Nothing is more amusing when one is strolling through these rocks, than to surprise young girls getting ready to bathe... Despite the small number of things that I'll be able to bring back [to Paris], I hope to be able to give you an idea of these charming things.

Pierre-Auguste Renoir

In the autumn of 1884 I went to Paris. The spirit that greeted me was certainly more impressive than in Germany. I studied in a famous school. The French who I met there seemed to me not at all equipped. Traditional views. I was there for three years. I never found a talent. Among the Germans, in particular at the Academy of Munich, there was a lot more momentum. I admire the French painting from Watteau to Monet, otherwise there is nothing that can be said to be exceptional.

Lovis Corinth

Fine colour implies a unified relationship, in which each part is subordinate to the whole, and the transitions between them are felt to be as precious and beautiful as the colours themselves. In fact, the colours themselves must be continuously modified and broken as part of the transition. Ruskin said in his Elements of Drawing, "Give me some mud off a city crossing, some ochre out of a gravel-pit, a little whitening, and some coal dust, and I will paint you a luminous picture, if you give me time to gradate my mud, and subdue my dust." In many works by the greatest colourists - Rembrandt and Watteau are examples - there are very few identifiable colours.

Kenneth Clark