“I never touched Cubism myself, you know, although I was attracted by it one time. When I was painting at Céret and at Cagnes [1919, and from 1923]. I yielded to its influence in spite of myself, and the results were not entirely banal. But then... Céret itself is anything but banal. There is so much foreshortening in the landscape that, for that very reason, a picture may seem to have been painted in some specific style”

quote in 1927
Source: Life with the painters of La Ruche, Vorobëv Marevna, Macmillan, New York, 1972, p. 156

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 "I never touched Cubism myself, you know, although I was attracted by it one time. When I was painting at Céret and at C…" by Chaim Soutine?

Chaim Soutine8

painter 1893–1943

Related quotes

“I would rather paint the victims than the killers... When Warhol painted the killers, I painted the victims. The subjects were of poor people, banal poor dogs.”

Gerhard Richter (1932) German visual artist, born 1932

comment on his painting 'Eight student nurses', compared with Warhol's art-work 'Thirteen most wanted man', in 1964
Source: after 2000, Doubt and belief in painting' (2003), p. 56, note 79

“I have a garden and across the road, a park. I never go for walks, but I look out the window and 'ask for permission' [to paint the view] as I call it. If I need some green, I find it there. In that sense, I’m a very old-fashioned painter, tied to nature. But I remain modern in that I execute some rather impious structures. I will react if I feel that my paintings, though abstract, become too naturalistic. I have another studio in Italy and I worked a lot there this summer. I still depend on my surroundings, so some of my work was very influenced by the Italian landscape, its olive trees and the very cold green color of the leaves. You could identify the specific landscape in those paintings and it drove me crazy. So I had to destroy them. But even destruction can still help underline what is good about a picture.”

Per Kirkeby (1938–2018) Danish artist

1995 and later, interview in Kirkeby’s home studio, Copenhagen (2012)

“I paint very large pictures. I realize that historically the function of painting large pictures is painting something very grandiose and pompous. The reason I paint them however, - I think it applies to other painters I know -, is precisely because I want to be very intimate and human. To paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view or with a reducing glass. However you paint the larger picture, you are in it. It isn't something you command.”

Mark Rothko (1903–1970) American painter

1950's
Source: Interiors, Vol. 110, no 10, May 1951; as quoted in Abstract Expressionism Creators and Critics, ed. Clifford Ross, Abrams Publishers New York 1990, p. 172

“I have seen big painting here. When I had looked at all the paintings by all the masters I had known I could not help saying to myself all the time, it's very pretty but it's not all yet. It ought to be better, but now I have seen what I always thought ought to have been done and what did not seem to me impossible. O what satisfaction it gave me to see the good Spanish work so good so strong so reasonable so free from every affectation. It stands out like nature itself.”

Thomas Eakins (1844–1916) American painter

Letter from Madrid to Benjamin Eakins (1869-12-02).

“.. Recently I was at the home of Thomas Hess and he had a painting hanging there and I said to my wife: 'Is that one of my paintings?'. And she said: 'Well, it looks like one of yours from around 1942'. But then we realized that it wasn't one of my but one of Baziote's paintings…. at that time, 1942, the differences in our paintings may have seemed very great, but now [1960] the difference is not so great apparently…. For example; in the early forties Rothko and I decided to paint a certain subject matter. Perhaps if we saw some of those paintings now…. they might not seem so different as they did at the time. However, at no point was there ever any sort of a doctrine or a programma or anything that would make a school. I think it was simply a situation in which all of the painters were at that time; they were trying to break away from certain things.”

Adolph Gottlieb (1903–1974) American artist

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Living Arts', June 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, pp. 27-28
1960s

“In Antwerp I did not even know what the Impressionists were, now I have seen them and though not being one of the club, yet I have much admired certain Impressionist pictures – Degas, nude figure – Claude Monet, landscape. And now for what regards what I myself have been doing, I have lacked money for paying models, else I had entirely given myself to figure painting but I have made a series of colour studies in painting simply flowers, red poppies, blue corn flowers and myosotys. White and rose roses, yellow chrysantemums – seeking oppositions of blue with orange, red and green, yellow and violet, seeking THE BROKEN AND NEUTRAL TONES to harmonise brutal extremes. Trying to render intense COLOUR and not a grey harmony.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

Quote of Vincent van Gogh in his letter to Horace Mann Livens, from Paris, September or October 1886; from letter 569 - vangoghletters online http://vangoghletters.org/vg/letters/let569/letter.html <br class="br">1880s, 1886

“When so many hours have been spent convincing myself I am right, is there not some reason to fear I may be wrong?”

Jane Austen book Sense and Sensibility

Variant: Where so many hours have been spent in convincing myself that I am right, is there not some reason to fear I may be wrong?
Source: Sense and Sensibility

“I know I must live in France, but I don't want to cut myself off from America. France is a picture already painted. America still has to be painted. Maybe that's why I feel freer there. But when I work in America, it's like shouting in a forest. There's no echo.”

Marc Chagall (1887–1985) French artist and painter

as quoted by Joseph A. Harriss, in 'The Elusive Marc Chagall', - the 'Smithsonian Magazine', December 2003 https://www.smithsonianmag.com/arts-culture/the-elusive-marc-chagall-95114921/ <br class="br">after 1930

“I love to experiment with all styles, and do not have any particular prejudice or bias towards any specific style. These works appear, and they turn out, the way they should. I do not decide in what style I want to paint. I am only experimenting. Even Picasso, when he arrived at Cubism, had already experimented with a lot of other styles.”

Guity Novin (1944) artist

Source: Ayandegan (1973), p. 4

“If my time has come I shall have nothing to complain of. For fifty-tree years I have been painting; so I have been able to devote myself entirely to what I loved best in the world. I had never suffered poverty; I had good parents and excellent friends; I can only thank God.”

Jean-Baptiste-Camille Corot (1796–1875) French landscape painter and printmaker in etching

Quote from Corot's letter to his friend M. Francais in 1875, the year of his death
1870s

Help us to complete the source, original and additional information

Chaim Soutine8

Related quotes

Related topics