“Everything we look at disperses and vanishes. doesn't it? Nature is always the same, and yet its appearance is always changing... Painting must give us the flavour of nature’s eternity. Everything, you understand. So I join together nature's straying hands.... From all sides, here there and everywhere, I select colours, tones and shades; I set them down, I bring them together.... They make lines, they become objects – rocks, trees – without my thinking about them.... But if there is the slightest distraction, the slightest hitch, above all if I interpret too much one day, if I'm carried away today by a theory which contradicts yesterday's, if I think while I'm painting, if I meddle, then woosh!, everything goes to pieces.”

—  Paul Cézanne

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 148, in: 'What he told me – I. The motif'

Adopted from Wikiquote. Last update Sept. 14, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "Everything we look at disperses and vanishes. doesn't it? Nature is always the same, and yet its appearance is always c…" by Paul Cézanne?
Paul Cézanne photo
Paul Cézanne62
French painter 1839–1906

Related quotes

Fernand Léger photo

“I dispersed my objects in space and got them to hold together by making them radiate forwards, out of the picture. It's all an easy interplay of chords and rhythms made up of foreground and background colours, of conducting lines, of distances and of contrasts.”

Fernand Léger (1881–1955) French painter

Quote from Exhibition catalogue Fernand Léger, Paris 1972, p. 91
Quotes of Fernand Leger, 1970's

Paula Modersohn-Becker photo

“I believe that one should not think so much about nature when painting, at least not during the conception of the picture. Make the color sketch exactly as one has felt something in nature. But my personal feeling is the main thing. Once I have established it, lucid in tone and color, I must bring in from nature the things that make my painting seem natural, so that a layman will only think that 1 have painted it from nature.”

Paula Modersohn-Becker (1876–1907) German artist

quote from her Diaries, 1 October, 1902; as cited in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 31
1900 - 1905

Gerhard Richter photo

“I believe I am looking for rightness. My work has so much to do with reality that I wanted to have a corresponding rightness. That excludes painting in imitation. In nature everything is always right: the structure is right, the proportions are good, the colours fit the forms. If you imitate that in painting, it becomes false.”

Gerhard Richter (1932) German visual artist, born 1932

Interview with Anna Tilroe, 1987; as cited on collected quotes on the website of Gerhard Richter: on &#x27;Abstract paintings&#x27; https://www.gerhard-richter.com/en/quotes/subjects-2/abstract-paintings-7 <br class="br">1980&#x27;s

Paul Cézanne photo

“Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything... A convent, a monastery, a phalanstery of painting where one could train together.... but no program, no instruction in painting.... drawing is still alright, it doesn't count, but painting – the way to learn is to look at the masters, above all at nature, and to watch other people painting..”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 124, in: 'What I know or have seen of his life'

Marcus Aurelius photo

“Look at everything that exists, and observe that it is already in dissolution and change, and as it were putrefaction or dispersion, or that everything is so constituted in nature as to die.”

Marcus Aurelius book Meditations

Source: Meditations (c. 121–180 AD), Book X, 18

Gerhard Richter photo

“What I lack is the spiritual basis which under girded Romantic painting. We have lost the feeling of God's omnipresence in Nature. For us, everything is empty. Yet, these paintings [of a. o. Caspar David Friedrich ] are still there. They still speak to us. We continue to love them, to use them, to have need of them.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 109, note 62

Paolo Veronese photo

“I paint my pictures with all the considerations which are natural to my intelligence, and according as my intelligence understands them.”

Paolo Veronese (1523–1588) Italian painter of the Renaissance

Unsourced variant translation: I paint my pictures with such judgment as I have and as seems fitting.
Testimony to the Inquisition, (1573)

Eugène Delacroix photo

“The more I think about colour, the more convinced I become that this reflected half-tint is the principle that must predominate, because it is this that gives the true tone, the tone that constitutes the value, the thing that matters in giving life and character to the object. Light, to which the schools teach us to attach equal importance and which they place on the canvas at the same time as the half-tint and shadow, is really only an accident. Without grasping this principle, one cannot understand true colour, I mean the colour that gives the feeling of thickness and depth and of that essential difference that distinguishes one object from another.”

Eugène Delacroix (1798–1863) French painter

29 April 1854 (p. 228)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

Robert A. Heinlein photo

“These savages and their false gods! I grow weary of them. Yet they are necessary; the priests and the gods of slaves always fight on the side of the Masters. It is a rule of nature.”

Robert A. Heinlein book Sixth Column

Source: Sixth Column (1949; originally serialized in 1941), Chapter 5 (p. 62)

Jean Dubuffet photo

“With respect to the use of this sparkling coloured material [butterfly wings, around 1955] – the constituent parts of which remain indistinguishable – with the aim of producing a very vivid effect of scintillation, I realised that, for me, this responds to needs of the same order as those that formerly led me, in many drawings and paintings, to organize my lines and patches of colour so that the objects represented would meld into everything around them, so that the result would be a sort of continuous, universal soup with an intensive flavour of life.”

Jean Dubuffet book Prospectus et tous écrits suivants

Source: 1960-70's, Prospectus et tous écrits suivants, 1967, p. 116

Related topics