Pablo Picasso idézet

oldal 4

„A művészet hazugság, amely segít felismerni az igazságot.”

„Minden gyerek egy művész, a kérdés csak az, hogyan maradjon művész, ha már felnőtt.”

„Mások látták, mi van, és megkérdezték, miért. Én pedig láttam, mi lehet, és megkérdeztem, miért ne.”

„Ah, jó ízlés! Milyen rémes dolog! Az ízlés a kreativitás ellensége.”

„Tanulja meg a szabályokat, mint egy profi, így megszegheti őket, mint egy művész.”

„A művészet lemossa a lélekről a mindennapok porát.”

„Ábrázoló és nem ábrázoló művészet nincs. Minden formában és figurában jelenik meg. Még a metafizikában is alakok fejezik ki a gondolatokoat, képzeljék hát el, mennyire lehetetlen festészetre gondolni az alakok képe nélkül.”

„A képet az ember nem gondolja el, és nem rögzíti előre, amíg készül, követi a gondolat mozgását. Készen is tovább változik; annak lelkiállapota szerint, aki nézi. A kép él, mint az élőlény, változik a mindennapi élet követelményei szerint. Ez természetes, mert hiszen a kép csak az által él, aki nézi.”

„Sok idő múlik el, míg az ember fiatal lesz.”

„Mint képzelik azt, hogy a néző úgy élhesse át képeimet, ahogyan én átéltem? A kép hozzám messziről jut el, ki tudja, milyen messziről; kitaláltam, láttam, megfestettem, s emellett másnap magam sem látom, hogy mit csináltam.”

„Nálam a kép felbontás eredménye. Festek egy képet, azután szétrombolom. Végeredményben semmi sem vész el; a vörös, amit egyik részről elvettem, ott van valahol másutt.”

„A szépség akadémikus tanítása hamis. Becsaptak bennünket, de annyira becsaptak, hogy az igazságnak már árnyékát sem találjuk.”

„Nem keresek. Találok.”

„Mindig olyan dolgokat csinálok, amiket nem tudok, így leszek képes végül megcsinálni azokat.”

„Ha két grafikus neve marad fenn az utókornak a huszadik századból, a másik én leszek, ha csak egy, az Szalay Lajos lesz.”

„Minden, amit csak el tudsz képzelni valódi.”

„Vannak festők, akik a napot sárga foltnak festik meg, de vannak olyanok, akik művészetük és intelligenciájuk segítségével a sárga foltot nappá alakítják.”

„Anyám azt mondta nekem: ha beállsz katonának, tábornok lesz belőled, ha szerzetesnek mész, a végén te leszel a pápa. Én festőnek mentem, és Picasso lettem.”

„A kreativitás legfőbb ellensége a jó érzék.”

„Mindig azt csinálom, amire képtelen vagyok, hogy megtanuljam, hogyan kell csinálni.”

„[A számítógépekről] De hisz használhatatlanok. Csak válaszokat tudnak adni.”

„Az inspiráció létezik, de dolgozni kell érte.”

„Az tud, aki azt hiszi, hogy tud, és az nem tud, aki azt hiszi, hogy nem tud. Ez egy kérlelhetetlen, vitathatatlan törvény.”

„A cselekvés minden siker alapvető kulcsa.”

„Egy ötlettel kezdem, és aztán valami más lesz belőle.”

“…this bull is a bull and this horse is a horse… If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.”

“Everyone wants to understand painting. Why don't they try to understand the song of the birds? Why do they love a night, a flower, everything which surrounds man, without attempting to understand them? Whereas where painting is concerned, they want to understand. Let them understand above all that the artist works from necessity; that he, too, is a minute element of the world to whom one should ascribe no more importance than so many things in nature which charm us but which we do not explain to ourselves. Those who attempt to explain a picture are on the wrong track most of the time. Gertrude Stein, overjoyed, told me some time ago that she had finally understood what my picture represented: three musicians. It was a still life!!”

“Mathematics, trigonometry, chemistry, psychoanalysis, music, and what not have been related to cubism to give it an easier interpretation. All this has been pure literature, not to say nonsense, which brought bad results, blinding people with theories. Cubism has kept itself within the limits and limitations of painting, never pretending to go beyond it.”

“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.”

“It would be very curious to record by means of photographs, not the stage of the picture, but its metamorphoses. Perhaps one would perceive the path taken by the mind in order to put its dreams into a concrete form. But what is really very curious is to observe that fundamentally the picture does not change, that despite appearances the initial vision remains almost intact”

“You have got to be able to picture side by side everything Matisse and I were doing at that time. No one has ever looked at Matisse's painting more carefully than I; and no one has looked at mine more carefully than he.”

“I deal with painting as I deal with things, I paint a window just as I look out of a window. If an open window looks wrong in a picture, I draw the curtain and shut it, just as I would in my own room. In painting, as in life, you must act directly.”

“Their forms had no more influence on me than they did on Matisse. Or Derain. But for them, the masks were sculptures like all others. When Matisse showed me his first African head, he spoke to me of Egyptian art.”

“The painter goes through states of fullness and evacuation. That is the whole secret of art. I go for a walk in the forest of Fontainebleau. I get 'green' indigestion. I must get rid of this sensation into a picture. Green rules it. A painter paints to unload himself of feelings and visions. People seize on painting to cover up their nakedness. They get what they can wherever they can. In the end I don't believe they get anything at all. They've simply cut a coat to the measure of their own ignorance. They make everything, from God to a picture, in their own image. That is why the picture-hook is the ruination of a painting.”

“When there's anything to steal, I steal”

“You mustn't alway believe what I say", he once told me. "Questions tempt you to tell lies, particularly when there is no answer.”

“I can hardly understand the importance given to the word research in connection with modern painting. In my opinion to search means nothing in painting. To find is the thing. Nobody is interested in following a man who, with his eyes fixed on the ground, spends his life looking for the purse that fortune should put in his path. The one who finds something no matter what it might be, even if his intention were not to search for it, at least arouses our curiosity, if not our admiration.”

“And from the point of view of art there are no concrete or abstract forms, but only forms which are more or less convincing lies. That those lies are necessary to our mental selves is beyond any doubt, as it is through them that we form our aesthetic point of view of life.”

“The glories, trumpets, palms… and low reliefs,… all that makes a monument.”

“To contradict. To show one eye full face and one in profile. Nature does many things the way I do, but she hides them! My painting is a series of non-sequiturs. …”

“Do you think it interests me that this painting represents two figures? These two figures existed, they exist no more. The sight of them gave me an initial emotion, little by little their real presence grew indistinct they became a fiction for me, then they disappeared, or rather, were turned into problems of all kinds. For me they are no longer two figures but shapes and colours, don’t misunderstand me, shapes and colours, though, that sum up the idea of the two figures and preserve the vibration of their”

“They speak of naturalism in opposition to modern painting. I would like to know if anyone has ever seen a natural work of art. Nature and art, being two different things, cannot be the same thing. Through art we express our conception of what nature is not. Velasquez left us his idea of the people of his epoch. Undoubtedly they were different from what he painted them, but we cannot conceive a Philip IV in any other way than the one Velasquez painted…”

“Success is dangerous. One begins to copy oneself and to copy oneself is more dangerous than to copy others.”

“People who try to explain pictures are usually barking up the wrong tree.”

“On August 2, 1914, I took Braque and Derain to the Gare d'Avignon [drafted as a soldier for World war 1. ] I never saw them again [not literally a fact, but the close relation between Picasso and Braque ended].”

“Cubism is no different from any other school of painting. The same principles and the same elements are common to all. The fact that for a long time cubism has not been understood and that even today there are people who cannot see anything in it, means nothing. I do not read English, and an English book is a blank to me. This does not mean that the English language does not exist, and why should I blame anyone but myself if I cannot understand what I know nothing about?”

“In the old days pictures went forward toward completion by stages. Every day brought something new. A picture used to be a sum of additions. In my case a picture is a sum of destructions. I do a picture — then I destroy it. In the end though, nothing is lost: the red I took away from one place turns up somewhere else”

“Among the several sins that I have been accused of committing, none is more false than the one that I have, as the principal objective in my work, the spirit of research. When I paint my object is to show what I have found and not what I am looking for. In art intentions are not sufficient and, as we say in Spanish, love must be proved by facts and not by reasons…”

“Many think that Cubism is an art of transition, an experiment which is to bring ulterior results. Those who think that way have not understood it. Cubism is not either a seed or a foetus, but an art dealing primarily with forms, and when a form is realized it is there to live its own life. A mineral substance, having geometric formation, is not made so for transitory purposes, it is to remain what it is and will always have its own form.”

“How can you expect a beholder to experience my picture as I experienced it? A picture comes to me a long time beforehand; who knows how long a time beforehand, I sensed, saw, and painted it and yet the next day even I do not understand what I have done. How can anyone penetrate my dreams, my instincts, my desires, my thought, which have taken a long time to fashion themselves and come to the surface, above all to grasp what I put there, perhaps involuntary.”

“Neither is there figurative and non-figurative art. All things appear to us in the shape of forms. Even in metaphysics ideas are expressed by forms, well then think how absurd it would be to think of painting without the imagery of forms. A figure, an object, a circle, are forms; they affects us more or less intensely.”

“I was thinking about Casagemas's death that started me painting in blue.”

“Matisse makes a drawing, then he makes a copy of it. He recopies it five times, ten times, always clarifying the line. He's convinced that the last, the most stripped down, is the best, the purest, the definitive one; and in fact, most of the time, it was the first. In drawing, nothing is better than the first attempt.”

“Drink to me. Drink to my health. You know I can't drink any more.”