Paul Cézanne idézet (72 idézet) | Híres emberek idézetei

Quote in a conversation with Vollard, along the river near Aix, 1896; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 74
Quotes of Paul Cezanne, 1880s - 1890s

“Maybe Delacroix stands for Romanticism. He stuffed himself with too much Shakespeare and Dante, thumbed through too much Faust. His palette is still the most beautiful in France, and I tell you no one under the sky had more charm and pathos combined than he, or more vibration of colour. We all paint in his language, as you all write in Hugo's.”

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Paul Cézanne

Forrás: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 197 in: 'What he told me – II. The Louvre'

“Yes, a bunch of carrots, observed directly, painted simply in the personal way one sees it, worth more than the Ecole's everlasting slices of buttered bread, that tobacco-juice painting, slavishly done by the book? The day is coming when a single original carrot will give birth to a revolution.”

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Paul Cézanne

Forrás: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 68, in: 'What I know or have seen of his life'

“Listen, monsieur Vollard, I worked a lot out of doors at L'Estaque. Except for that there was no other event of importance in my life during the years 1870-71. I divided my time between the field and the studio... Zola closed his letter by urging me to come back to Paris too [in 1872 Cézanne went back to Paris].... but all the same, something told me to go back to Paris. It was too long since I had seen the Louvre. But understand, Monsieur Vollard, I was working at that time on a landscape which was not going well. So I stayed at Aix a little while longer to study on my canvas.”

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Paul Cézanne

Quote in: Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 32-33
Quotes of Paul Cezanne, 1860s - 1870s

“As a painter I am beginning to see more clearly how to work from Nature... But I still can't do justice to the intensity unfolding before my eyes.”

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Paul Cézanne

Quote in Cezanne's letter to his son Paul, a few months before his death; as quoted in The Private Lives of the Impressionists Sue Roe; Harper Collins Publishers, New York, 2006, p. 268
Quotes of Paul Cezanne, after 1900

“You can't ask a man to talk sensibly about the art of painting if he simply doesn't know anything about it. But by God, how can he [ Zola was his youth friend, who used Cezanne as a model in Zola's novel 'L'Oeuvre'] dare to say that a painter is done because he has painted one bad picture? When a picture isn't realized, you pitch it in the fire and start another one.”

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Paul Cézanne

Quote in a conversation with Vollard in Cezanne's studio in Aix - after the death of Zola in 1902; as quoted in Cézanne, Ambroise Vollard, Dover publications Inc. New York, 1984, p. 74
Quotes of Paul Cezanne, after 1900

“.. But there is better. Simplicity, being direct. Everything else is just a game, just building castles in the sky... Basically I don't think of anything when I paint. I see colours. I strive with joy to convey them on to my canvas just as I see them. They arrange themselves as they choose, any old way. Sometimes that makes a picture. I'm brainless animal. Very content if I could be just that..”

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Paul Cézanne

Forrás: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 158-159, in: 'What he told me – I. The motif'

“Colour is the place where our brain and the universe meet. That's why colour appears so entirely dramatic, to true painters. Look at Sainte-Victoire there [the hill, which Cézanne painted again and again] How it soars, how imperiously it thirsts for the sun!.. For a long time I was quite unable to paint Sainte-Victoire; I had no idea to go about it because, like others who just look at it, I imagined the shadow to be concave, whereas in fact it's convex, it disperses outward from the center. Instead of accumulating, it evaporates, becomes fluid, bluish, participating in the movements of the surrounding air. Just as over there to the right, on the Pilon du Roi, you can see the contrary effect, the brightness gently rocking to and fro, moist and shimmering. That's the sea.... That's one needs to depict. What one needs to know. That's the bath of experience, so to speak…”

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Paul Cézanne

Forrás: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 153, in: 'What he told me – I. The motif'

“Until the war [between France and Germany] as you know, my life was a mess. I wasted it. It was only at l'Estaque, when (1870-1871) I thought things over, that I really understood Pissarro, a painter like myself... He was a determined man. I was overcome by a passion for work. It wasn't that I hadn't been working before, I was always working. But what I always missed, you know, was a comrade like you..”

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Paul Cézanne

Forrás: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 208 in: 'What he told me – III. The Studio'

“A builder. A rough and ready plasterer. A colour grinder. He Courbet is like a Roman bricklayer. And yet he's another true painter. There's no one in this century that surpasses him. Even though he rolls up his sleeves, plugs up his ears, demolishes columns, his workmanship is classical!... His view was always compositional. His vision remained traditional. Like his palette-knife, he used it only out of doors. He was sophisticated and brought his work to a high finish... His great contribution is the poetic introduction of nature - the smell of damp leaves, mossy forest cuttings - into nineteenth century painting; the murmur of rain, woodlands shadows, sunlight moving under trees. The sea. And snow, he painted snow like no one else!”

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Paul Cézanne

Forrás: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 198 in: 'What he told me – II. The Louvre'

“But what an eye Monet has, the most prodigious eye since painting began! I raise my hat to him. As for Courbet, he already had the image in his eye, ready-made. Monet used to visit him, you know, in his early days... But a touch of green, believe me, is enough to give us a landscape, just as a flesh tone will translate a face for us..”

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Paul Cézanne

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

“You positively paint like a madman.”

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Paul Cézanne

As quoted in: 'Mercure de France', 16 December 1908, p. 607
remark to Vincent van Gogh, ca. 1886 in Paris. Van Gogh showed Cezanne some of his recent paintings, he recently made in Paris
Quotes of Paul Cezanne, 1880s - 1890s

“Nature as it is seen and nature as it is felt, the nature that is there.. (he pointed towards the green and blue plain; J. G.) and the nature that is here (he tapped his forehead, J. G.) both of which have to fuse in order to endure, to live that life, half human and half divine, which is the life of art or, if you will.. the life of god. The landscape is reflected, humanized, rationalized within me. I objectivize it, project it, fix it on my canvas..”

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Paul Cézanne

Forrás: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 150, in: 'What he told me – I. The motif'

“When I'am outlining the skin of a lovely peach with soft touches of paint, or a sad old apple, I catch a glimpse in the reflections they exchange of the same mild shadow of renunciation, the same love of the sun, the same recollection of the dew... Why do we divide up the world? Does this reflects our egoism?... The prism is our first step towards God, our seven beatitudes.”

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Paul Cézanne

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

“To my mind one does not put oneself in place of the past, one only adds a new link.”

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Paul Cézanne

Quote of 1906 from a letter; cited in Paul Cézanne, Letters ed. John Rewald, New York, Da Capro Press, 1995, p. 313
Quotes of Paul Cezanne, after 1900

“But there are motifs that would need three or four months' work, which could be done, as the vegetation doesn't change here. There are the olive trees and the pines that always keep their leaves. The sun is so fierce that objects seem to be silhouetted, not only in black or white, but in blue, red, brown, violet. I may be wrong, but this seems to be the very opposite of 'modeling'. How happy the gentle landscapists of Auvers would be here, and that [con, or 'bastard'? ] Guillemet.”

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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
'The very opposite of 'modeling' meant roughly that Cézanne and Pissarro in their common painting-years in open air would lay down one plane or patch of color next to another in the painting, without any 'modeling' or shading between them - so that it looked as if each component part of the painting could be picked up from the canvas a little like a 'playing card from the table', as Cezanne explains here.
Quotes of Paul Cezanne, 1860s - 1870s

“You wretch! [Cezanne is portraying the art dealer Vollard who changed his pose during the painter session] You've spoiled the pose. Do I have to tell you again you must sit like an apple? Does an apple move?”

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Paul Cézanne

Quote from a conversation in Cézanne's studio in Paris, ca. 1896-98; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 74
Quotes of Paul Cezanne, 1880s - 1890s

“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..”

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Paul Cézanne

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

“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..”

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Paul Cézanne

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

“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.”

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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

“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.”

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Paul Cézanne

Forrás: 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)

“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.”

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Paul Cézanne

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

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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

“.. 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.”

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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