Paul Cézanne: Trending quotes (page 2)

“Objects enter into each other... Chardin [French classical still-life painter] was the first to have glimpsed that and rendered the atmosphere of objects... Notice how a light transversal plane straddling the bridge of your nose makes the values more evident to the eye... Well, he noticed that before we did... He neglected nothing. He also perceived that whole encounter in the atmosphere of the tiniest particles, the fine dust of emotion that surrounds objects..”

Paul Cézanne

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 220 in: 'What he told me – III. The Studio'

Life , Light

“He (Delacroix) turns David [French painter] upside down. His painting is iridescent. Seeing one Constable [famous English landscape painter, admired by French painters, then] is enough to make him understand all the possibilities of landscape, and he too sets up his easel by the sea... And he has a sense of human being, of life in movement, of warmth. Everything moves, every glistens. The light!... There is more warm light in this interior [probably: Delacroix's 'Woman of Algiers'] of his than in all of Corot's landscapes..”

Paul Cézanne

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 196 in: 'What he told me – II. The Louvre'

Life , Understanding , Sense , Light

“Everybody's going crazy over the Impressionists; what art needs is a Poussin made over according to nature. There you have it in a nutshell.”

Paul Cézanne

Quote from a conversation with Vollard, in the studio of Cézanne, in Aix, 1896; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 67
Quotes of Paul Cezanne, 1880s - 1890s

Art , Nature

“Let's not eliminate nature. Too bad if we fail. You see, in his 'Dejeuner sur l'herbe', Manet ought to have added - I don't know what - a touch of this nobility, whatever it is in this picture that conveys heaven to our every sense. Look at the golden flow of the tall woman, the other one's back... They are alive and they are divine.”

Paul Cézanne

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 186 in: 'What he told me – II. The Louvre' [standing in the Louvre in front of the painting 'Le concert Champêtre', painted by Giorgioni (ca. 1510)

Nature , Sense

“If I dared, I should say that your [ Camille Pissarro ] letter is imprinted with sadness. The picture business isn't going well; I fear that your morale may be colored a little grey, but I'm sure that it's only a passing phase… I imagine that you would be delighted with the country where I am now…. in ', who had talked to me about it. It's like a playing card. Red roofs against the blue sea. If the weather turns favorable perhaps I'll be able to finish them off.”

Paul Cézanne

Quote from Cezanne's letter to Camille Pissarro, from L'Estaque 2 July 1876, taken from Alex Danchev, The Letters of Paul Cézanne, 2013; as quoted in the 'Daily Beast' online, 13 Oct. 2013 https://www.thedailybeast.com/cezannes-letter-to-pissarro-picture-business-isnt-going-well
Quotes of Paul Cezanne, 1860s - 1870s

Sadness , Fear , Color , Imagination

“I saw Monet and Renoir at about the end of December; they had been on holiday in Genoa, in Italy.”

Paul Cézanne

Quote in Cezanne's letter to Emile Zola, 23rd February 1884; as quoted in Renoir – his life and work, Francois Fosca, Book Club Associates /Thames and Hudson Ltd, London 1975, p. 175
Quotes of Paul Cezanne, 1880s - 1890s

Holiday

“.. that distinguished aesthete [ Gustave Moreau, ] famous artist and art teacher in Paris, then] who paints nothing than rubbish, it is because his dreams are suggested not by the inspiration of Nature, but by what he has seen in the museums... I should like to have that good man under my wing, to point out to him the doctrine of a development of art by contact with Nature. It's so sane, so comforting, the only just conception of art.”

Paul Cézanne

Quote in a conversation with Vollard, in the studio of Cézanne, in Aix, 1896; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 66
Quotes of Paul Cezanne, 1880s - 1890s

Dreams , Art , Nature , Teachers

“Yes, yes, a formula that's a straitjacket.... not for me! All the same, he tries in vain, does Jean-Dominique [Ingres], to wring your heart with his glossy finish! I said this to Vollard, to shock him, he is very powerful! Nevertheless he [ Jean-Dominique Ingres, French classicist painter] is a damned good man... The most modern of the moderns. Do you know why I take my hat off to him? Because he forced his fantastic draughtsmanship down the throats of the idiots who now claim to understand it. But here there are only two: Delacroix and Courbet. The rest are scoundrels.”

Paul Cézanne

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 192 in: 'What he told me – II. The Louvre'

Understanding , Heart

“That's my great ambition. To be sure! Every time I attack a canvas I feel convinced, I believe that something's going to come of it... But I immediately remember that I've always failed before. Then I taste blood... I never know where I am going or where I want to go with this damned profession. All the theories mess you up inside.”

Paul Cézanne

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 206 in: 'What he told me – III. The Studio'

Feeling , Time

“.. and wanting to force nature to say things, making trees twist and rocks frown, as Gustave Doré does, or even painting it like Leornardo da Vinci, that's literature too. There's logic of colour, damn it all! The painter owes allegiance to that alone. Never to the logic of the brain; if he abandons himself to that logic, he's lost... Painting is first and foremost an optical affair. The stuff of our art is there, in what our eyes are thinking... If you respect nature, it will always unravel its meaning for you.”

Paul Cézanne

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 161, in: 'What he told me – I. The motif'

Art , Literature , Nature , Thinking

“The point to be made clear is that, whatever may be our temperament, or our power in the presence of nature, we have to render what we actually see, forgetting everything that appeared before our own time. Which, I think, should enable the artist to express his personality to the full, be it large or small. Now that I am an old man, about seventy, the sensations of colour which produce light give rise to abstractions that prevent me from covering my canvas, and from trying to define the outlines of objects when their points of contact are tenuous and delicate; with the result that my image or picture is incomplete. For another thing, the planes become confused, superimposed; hence Neo-Impressionism (initiated by Seurat and Paul Signac, ed., where everything is outlined in black, an error which must be uncompromisingly rejected. And nature, if consulted, shows us how to achieve this aim.”

Paul Cézanne

Quote from Cézanne's letter to Émile Bernard, 23 October 1905; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 180
Quotes of Paul Cezanne, after 1900

Error , Nature , Thinking , Light

“It's like Impressionism. They all do it at the Salons. Oh, very discreetly! I too was an Impressionist. I don't conceal the fact. Pissarro had an enormous influence on me. But I wanted to make out of Impressionism something solid and lasting like the art of the museums.”

Paul Cézanne

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 164, in: 'What he told me – I. The motif'

Art

“I had the company of monsieur Gibert. Such people see clearly, but they have the teacher's eye. As the train was taking us past Alexis' place a staggering subject for a picture came into view towards the east: St-Victoire [later Cezanne made series of paintings of Mont St. Victoire and the crags above Beaurecueil]. I said, 'What a splendid subject'; he replied, 'The lines are too symmetrical'. Referring to 'L'Assommoir' [a novel of Emile Zola ] about which, incidentally, he was the first person to speak to me, he said some very sound things, and praised it, but always from the point of view of technique.”

Paul Cézanne

Quote in Cézanne's letter to his friend Emile Zola, Aix-en-Provence, 14 April 1878; as quoted in Letters of the great artists – from Blake to Pollock"', Richard Friedenthal, Thames and Hudson, London, 1963, pp. 178-179
Quotes of Paul Cezanne, 1860s - 1870s

People , Teachers , Past , Painting

“.. The Night-watch (large and famous painting of Dutch 17th century painter Rembrandt.... the grandiose - I don't say it in bad part - grows tiresome after a while. There are mountains like that; when you stand before them you shout Nom de Dieu, but for every day a simple little hill does well enough. Listen Monsieur Vollard, if the 'Raft of the Medusa' of Théodore Géricault hung in my bedroom, it would make me sick.”

Paul Cézanne

Quote from a conversation with Vollard, in the studio of Cézanne, in Aix, 1896; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 67
Quotes of Paul Cezanne, 1880s - 1890s

Mountain , Parting , Painting

“Alas, because I'm no longer innocent. We're civilized beings. Whether we like it or not, we have the cares and concerns of classical civilization in our bones. I want to express myself clearly when I paint. In people who feign ignorance there is a kind of barbarism even more detestable than the academic kind: it's no longer possible to be ignorant today. One no longer is. We come into the world armed with facility. Facility is the death of art and we must rid ourselves of it.”

Paul Cézanne

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 155, in: 'What he told me – I. The motif': Cited in: George Pattison. God and Being: An Enquiry, (2011). p. 64

Death , People , World , Art

“That is why, perhaps, all of us derive Pissarro. He had the good luck to be born in the West Indies, where he learned how to draw without a teacher. He told me all about it. In 1865 he was already cutting out black, bitumen, raw sienna and the ocher's. That's a fact. Never paint with anything but the three primary colours and their derivatives, he used to say me. Yes, he was the first Impressionist.”

Paul Cézanne

Camille Pissarro was Cézanne's 'teacher' in impressionistic landscape painting; they frequently painted together in open air.
Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 164, in: 'What he told me – I. The motif'

Learning , Teachers , Drawing , Painting

“I still work with difficulty, but I seem to get along. That is the important thing to me. Sensations form the foundation of my work, and they are imperishable, I think. Moreover, I am getting rid of that devil who, as you know, used to stand behind me and forced me at will to 'imitate'; he's not even dangerous any more.”

Paul Cézanne

one week later Cezanne died
Quote in Cezanne's last letter to his son Paul, Aix, 15 October 1906; as quoted in Cézanne, Ambroise Vollard, Dover publications Inc. New York, 1984, p. 112
Quotes of Paul Cezanne, after 1900

Thinking

“Anyone who wants to paint should read Bacon. He defined the artists as homo additus naturae... Bacon had the right idea, but listen Monsieur Vollard, speaking of nature, the English philosopher, [Bacon] didn't for-see our open-air school, nor that other calamity which has followed close upon its heels: open-air indoors.”

Paul Cézanne

Quote in a conversation with Vollard in museum The Luxembourg, Paris 1897 - standing before the 'Olympia' of Manet; as quoted in Cézanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 36
Quotes of Paul Cezanne, 1880s - 1890s

School , Idea , Nature , Reading

“Don't you think your Corot [to Guilemet the painter] is a little short on temperament? I'm painting a portrait of Vallabreque; the highlight on the nose is pure vermilion”

Paul Cézanne

remark of Cezanne ca. 1860
Quote in: Cézanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 28
Quotes of Paul Cezanne, 1860s - 1870s

Thinking , Painting

“Make others feel the same way about it. Without their realizing it! That's the meaning of art... Yes, what I'm aiming for is the logical development of what we see and feel when we observe nature; only then I'm concerned with the process, processes being for us no more than simple ways of getting the public to feel what we ourselves are feeling, and of making our point. The great artists we admire have done no more... Shall we have lunch?”

Paul Cézanne

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 160, in: 'What he told me – I. The motif

Art , Way , Feeling , Nature