“The work of Renoir, after that of Cézanne whose great influence had been manifested among artists, save us from whatever drying effect there is in pure abstraction. The rules that one might deduce in considering the work of these two masters appear to be more difficult to discover in the work of Renoir, who hides his efforts better. Whereas the continuous tension of the mind of Cézanne, his lack of self-confidence, prevent him from giving himself to us entirely even though he shows the evidence of his corrections, from which are easily (too easily) deduced rules that have a mathematical precision.”

— Henri Matisse

critical quote on Cubism
In a short text of Matisse, 1918, written for the catalogue of 'Den Franske Utstilling', 1918, Copenhagen; as quoted in Matisse on Art, Jack Flam, University of California Press 1995 p. 272, note 2
1910 - 1920

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Henri Matisse60

French artist 1869–1954

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“Cézanne showed us forms living in the reality of light; Picasso gives us a material report of their real life in the mind. He establishes a free, mobile perspective, in such a way that the shrewd mathematician Maurice Princet has deduced an entire geometry.”

Jean Metzinger (1883–1956) French painter

Note sur la Peinture (1910)

“I insist upon 'doing it alone'. Much as I enjoyed making the trip there with Renoir as a tourist, I'd find it hard to work there together. I have always worked better alone and from my own impressions… If he Renoir knew I was about to go, Renoir would doubtless want to join me and that would be equally disastrous for both of us.”

Claude Monet (1840–1926) French impressionist painter

Quote in a letter to his art-dealer Durand-Ruel in Paris, 1884; as cited in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 51
Monet is painting then in Northern Italy then, on the edge of the Mediterranean
1870 - 1890

“It is not what the artist does that counts. But what he is. Cézanne would never have interested me if he had lived and thought like Jaques-Emile Blanche, even if the apple he had painted had been ten times more beautiful. What interests us is the anxiety of Cézanne, the teaching of Cézanne, the anguish of Van Gogh, in short the inner drama of the man. The rest is false.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Boisgeloup, winter 1934
Richard Friedenthal, (1963, p. 259)
Quotes, 1930's, "Conversations avec Picasso," 1934–35

“Before the blank canvas, the unrealized work, completely in the artist’s head, must seem to him equal to the greatest. To say that which has never been said – is the reason for all artistic work. But only outside of the work should the artist worthily get down on his knees before the great artists of the past... Rembrandt in our days would be Rembrandt again, because the work of the master is his self. But in order to be Rembrandt in our days, he would have used new ways that would give a new culture.”

Marianne von Werefkin (1860–1938) expressionist painter

Vol. 1: 'My beautiful One, My Unique!', pp. 130-140
1895 - 1905, Lettres à un Inconnu, 1901 – 1905; Museo Communale, Ascona

“.. my favorite artist, when I first began to paint, was actually Cézanne. Later, between 1920 – 1930, I developed a great interest in Chardin [famous for his still-life], w:Vermeer and Corot, too.... that's why you have been able to detect in my works of between 1912 – 1916 some recognizable influences of the early Paris cubists and above all, of Cézanne.”

Giorgio Morandi (1890–1964) Italian painter

Source: 1945 - 1964, Interview, 1960, p. 106

“Everyone who knows something about the dangers of reflection and the dangerous walk along the road of reflection also knows that it is dubious when a person, instead of getting out of the tension through resolution and action, becomes productive about his state in tension. Then there is no effort to get out of the state, but reflection fixes the situation for reflection and thereby fixes the man. The more richly thoughts and expressions offer themselves, the more briskly the productivity advances-in the wrong direction-the more dangerous it becomes and the more it hides from the person, concerned that his work, his extremely strenuous work, his very interesting (perhaps also for a third party who has a total view) work, is a work of bogging himself down deeper and deeper. That is, he does not work himself loose but works himself fast and becomes interesting to himself by reflecting on the tension and diverts himself with an utterly piecemeal productivity about detached details, with isolated short articles.”

Sören Kierkegaard (1813–1855) Danish philosopher and theologian, founder of Existentialism

The Book of Adler, by Søren Kierkegaard, Hong 1998 p. 127
1840s, The Book on Adler (1846-1847)

“My mind has been so much occupied these days by the thought of Cézanne, of how he has been one of the three or four powerful artists who have affected me like a thunderstorm, like some great event. Do you still remember what we saw at Vollard [art-seller in Paris who showed Cézanne's works frequently in his gallery] in 1900? And then, during the final days of my last stay in Paris, those truly astonishing early paintings of his at the Galerie Pellerin. Tell your husband he should see the things there... If it were not absolutely necessary [Paula was pregnant] for me to be here right now [Germany], nothing could keep me away from Paris.”

Paula Modersohn-Becker (1876–1907) German artist

In a letter from Worpswede, 21 October, 1907, to her friend Clara Rilke-Westhoff; as quoted in Voicing our visions, - Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 208
October 1907 Rilke started to write his famous series 'Letters on Cézanne' to his wife Clara Rilke-Westhoff
1906 + 1907

“The paradox in the evolution of French painting from Courbet to Cézanne is how it was brought to the verge of abstraction in and by its very effort to transcribe visual appearance with ever greater fidelity.”

Clement Greenberg (1909–1994) American writer and artist

"On the Role of Nature in Modernist Painting" (1949), p. 171
1960s, Art and Culture: Critical Essays, (1961)

“Artists have never worked with the model – just with the painting. What you [G. R. Swenson, the interviewer] are really saying is that an artist like Cézanne transforms what we think the painting ought to look like into something he thinks it ought to look like. He’s working with paint, not nature; he’s making a painting, he's forming. I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art. What I do is form, whereas the comic strip is not formed in the sense I’m using the word; the comics have shapes but there has been no effort to make them intensely unified. The purpose is different, one intends to depict and I intend to unify.”

Roy Lichtenstein (1923–1997) American pop artist

Source: 1960's, What is Pop Art? Interviews with eight painters' (1963), pp. 25-27

“Man in his arrogance thinks himself a great work worthy the interposition of a deity. More humble, and I believe truer, to consider him created from animals.”

Charles Darwin (1809–1882) British naturalist, author of "On the origin of species, by means of natural selection"

" Notebook C http://darwin-online.org.uk/EditorialIntroductions/vanWyhe_notebooks.html" (1838), pp. 196–197; also quoted in Charles Darwin: a scientific biography (1958) by Sir Gavin De Beer, p. 208 <br class="br">Other letters, notebooks, journal articles, recollected statements

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Henri Matisse60

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