“.. 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

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote ".. that distinguished aesthete [ Gustave Moreau, ] famous artist and art teacher in Paris, then] who paints nothing tha…" by Paul Cézanne?

Paul Cézanne photo

Paul Cézanne62

French painter 1839–1906

Related quotes

“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…”

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

Paris 1923
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 312
Quotes, 1920's

“Being an artist now means to question the nature of art. If one is questioning the nature of painting, one cannot be questioning the nature of art. If an artist accepts painting (or sculpture) he is accepting the tradition that goes with it. That’s because the word art is general and the word painting is specific. Painting is a kind of art. If you make paintings you are already accepting (not questioning) the nature of art. One is then accepting the nature of art to be the European tradition of a painting-sculpture dichotomy.”

Joseph Kosuth (1945) American conceptual artist

Joseph Kosuth in: Arthur R. Rose, “Four Interviews,” Arts Magazine (February, 1969).

“This is precisely what is decisive in Nietzsche’s conception of art, that he sees it in its essential entirety in terms of the artist; this he does consciously and in explicit opposition to that conception of art which represents it in terms of those who “enjoy” and “experience” it.
That is a guiding principle of Nietzsche’s teaching on art: art must be grasped in terms of creators and producers, not recipients. Nietzsche expresses it unequivocally in the following words (WM, 811): “Our aesthetics heretofore has been a woman’s aesthetics, inasmuch as only the recipients of art have formulated their experiences of ‘what is beautiful.’ In all philosophy to date the artist is missing.” Philosophy of art means “aesthetics” for Nietzsche too—but masculine aesthetics, not feminine aesthetics. The question of art is the question of the artist as the productive, creative one; his experiences of what is beautiful must provide the standard.”

Martin Heidegger (1889–1976) German philosopher

Source: Nietzsche (1961), p. 70

“Every great work of art should be considered like any work of nature. First of all from the point of view of its aesthetic reality and then not just from its development and the mastery of its creation but from the standpoint of what has moved and agitated its creator.”

Amedeo Modigliani (1884–1920) Italian painter and sculptor

Attributed without citation at The Art Story http://www.theartstory.org/artist-modigliani-amedeo.htm.

“Putting a shovel in a gallery or museum signified “this shovel has become art.” And it actually was. The action itself is art, because the artist projects himself in choosing the shovel, and especially in placing it out of context. It is art in the sense that the imprint of a hand in a cave is art, the Mona Lisa is art, a happening is art, etc. It is a problem that touches on the ethics and function of the artist: he assumes the right to have this supra-human calling that allows him to say to others, “everything that I touch with my hand is transformed into art.” The artist imposes his anguish, his vision of the world, and himself on others. The artist emasculates the observer. Maybe he thinks that the latter deserves no better… The artist assumes the right to show you what you can see for yourself, what you could obviously see much more clearly without his intervention. I contest this right.”

Daniel Buren (1938) sculptor from France

Source: Art is no longer justifiable or setting the record straight, 2000, p. 66-67

“Photography is not an art. Neither is painting, nor sculpture, literature or music. They are only different media for the individual to express his aesthetic feelings... You do not have to be a painter or a sculptor to be an artist. You may be a shoemaker. You may be creative as such. And, if so, you are a greater artist than the majority of the painters whose work is shown in the art galleries of today.”

Alfred Stieglitz (1864–1946) American photographer

'Is Photography a Failure?', Alfred Stieglitz, 'Sun: 5.', March 14, 1922; as quoted on Wikipedia

“One of Collingwood's earliest attempts to define the aesthetic essence of art. His aim, he writes in the preface, is to state a general conception of art and develop its consequences. His conception is one already familiar through the writings of others -- "that art is as bottom neither more nor less than imagination" -- but from his observation he goes on to outline the various distinctions between subordinate conceptions of art, and to attempt to demonstrate their place in the general conception, and the place of both in life. He urges that the meaningfulness of art cannot be torn from the imaginative setting in which it is embedded, and that we must attempt to explain the process by which an artist reaches a particular point of view on reality.”

R. G. Collingwood (1889–1943) British historian and philosopher

Abstract
Outlines of a Philosophy of Art, 1925

“I should like to paint like an man who has never seen a painting, but this man – myself – lives in a museum.”

Phillip Guston (1913–1980) American artist

Abstract Expressionism, David Anfam, Thames and Hudson Ltd London, 1990, p. 207
1961 - 1980

“The most perfect art was Greek art. Raphael is the greatest of all masters in painting'. Such were the doctrines of every art teacher only twenty or thirty years ago.”

Emil Nolde (1867–1956) German artist

1.
1900 - 1920, On Primitive Art – Emil Nolde, 1912

“Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings. As soon as one does work on walls, the idea of using the whole wall follows. It means that the art is intimately involved with the architecture. It is available to be seen by everyone. It avoids the preciousness of gallery or museum installations. Also, since art is a vehicle for the transmission of ideas through form, the reproduction of the form only reinforces the concept. It is the idea that is being reproduced. Anyone who understands the work of art owns it. We all own the Mona Lisa.”

Sol LeWitt (1928–2007) American artist

Quotes of Sol Lewitt, "Sol LeWitt by Saul Ostrow," 2003

Related topics