Quotes about retouching (8 quotes) | Quotes of famous people

“I can hardly describe the discord produced by the comparison of the retouched part of the painting and the part left untouched, the former having lost entirely the immediacy and brio of the brushwork and the latter the mastery of sensitive and discerning touches... For it is true that the more one retouches under the pretext of restoration, the more harm one does, and even the artists themselves, were they able to return, would not able to retouch their painting perfectly on account of the necessary change in the hue of pigments over time… No painting by Titian should be relined, nor any paintings by a number of other painters.... and, even when it is possible, the operation is more likely to result in deterioration than in improvement of the painting.”

Francisco De Goya (1746–1828) Spanish painter and printmaker (1746–1828)

from his Letters 263-264. circa 1801; in Goya, A life in Letters, edited and introduced by Sarah Simmons; translations by Philip Troutman, London, Pimlico, 2004
Early 1801 - Goya was then First Painter of the Court - the artist is sent to check the results of some restoration operated on works belonging to the Spanish crown. His 263-264 letters reveal the total opposition of Goya against any cleaning or restoration of older paintings
1800s

Change , Time , Parting , Painting

“I sincerely rejoice at the acceptance of our new Constitution by nine States. It is a good canvas, on which some strokes only want retouching. What these are, I think are sufficiently manifested by the general voice from north to south, which calls for a bill of rights.”

Thomas Jefferson (1743–1826) 3rd President of the United States of America

Letter to James Madison (July 31, 1788); reported in Memoir, correspondence, and miscellanies from the papers of Thomas Jefferson, Volumes 1-2 (1829), p. 343
1780s

Thinking , Sincerity

“Although Titian's works seem to many to have been created without much effort, this is far from the truth and those who think so are deceiving themselves. In fact, it is clear that Titian retouched his pictures, going over them with his colours several times, so that he must obviously have taken great pains. The method he used is judicious, beautiful, and astonishing, for it makes pictures appear alive and painted with great art, but it conceals the labour that has gone into them.”

Giorgio Vasari (1511–1574) Italian painter, architect, writer and historian

Giorgio Vasari in "Titian of Cadore", in Lives of the Artists as translated by George Bull (1987), Vol. I p. 458.

Pain , Truth , Beauty , Art

“I do think it’s important for young women to know that magazine covers are retouched. People don’t really look like that. In films I might look glamorous, but I’ve been in hair and make-up for two hours.”

Kate Winslet (1975) English actress and singer

Marie Clare, Kate Winslet interview by Harvey Marcus on Thursday 30 April 2009 http://www.marieclaire.co.uk/celebrity/interviews/322173/kate-winslet-interview.html

Women , People , Thinking

“The Darwinians have coined the terms pseudoteleology and teleonomy to designate the finality which they at the same time deny. Appearances are deceptive, they say; the materials of life are always the work of chance. What some take for finality is only the result of the ordering of random materials bynatural selection. Even were this to be true, as it is not, the demon of finility would still not have been exorcized. For natural selection is, in essence and function, the supreme finilizing agent. Actually, the terms pseudoteleology and teleonomy are the homage paid to finality, as hypocrisy pays homage to virtue. Giard (1905), himself a shrewd scholar but blinded by a foolish anticlericalism, went so far as to abjure Lamarckism and write, "To account for the wondrous adaptations such as those we observe between orchids and the insects that fertilize them, we have hardly any choice but the bare alternative hypotheses: the intervention of a sovereignly intelligent being, and selection." He cannot have seriously subjected his supposed dilemma to critical scrutiny or he would have seen that he was substituting for the dethroned divinity just such another, a sorting and finalizing, in sum transcendental, agent, natural selection. Paul Wintrebert, a convinced and even intractable atheist, did not fall into the same trap but realized perfectly that Giard's alternative involves, whatever opinion be held, recognizing the intervention of a purposive guiding agent. Giard's concept, which is that held by many atheists and "freethinkers", gives a singular and belittling idea of God. The Almighty, obliged to remodel and retouch His own handiwork.”

Pierre-Paul Grassé (1895–1985) French zoologist

Grassé, Pierre Paul (1977); Evolution of living organisms: evidence for a new theory of transformation. Academic Press, p. 165
Evolution of living organisms: evidence for a new theory of transformation (1977)

Life , God , Intelligence , Idea

“I have learned from experience that it is useful to begin by drawing one's picture clearly on a virgin canvas, first having noted the desired effect on a white or gray paper, and then to do the picture section by section, as immediately finished as one can, so that when it has all been covered there is very little to retouch. I have noticed that whatever is finished at one sitting is fresher, better drawn, and profits more from many lucky accidents, while when one retouches this initial harmonious glow is lost. I think that this method is particularly good for foliage, which needs a good deal of freedom.”

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

Quote from Corot's 'Notebooks', ca. 1828, as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 239 – 240
1820 - 1850

Thinking , Freedom , Learning , Drawing

“[those paintings that are] done entirely by my hand.... [those, ]done by the hand of a master skillfull in that department.... but this one not being finished, would be entirely retouched by my own hand, and by this means would pass as original; done by one of my pupils, but the whole retouched by my hand.”

Peter Paul Rubens (1577–1640) Flemish painter

In a letter of 28 April, 1618, to the collector Sir Dudley Carleton; transl. from Italian, R. Saunders Magurn, The letters of Peter Paul Rubens, Cambridge Mass., 1955, p.60-61
Rubens is indicating in this letter to a good client the level of his personal involvement in several paintings which were offered then for sale. Rubens is specifying his involvement in a variety of degrees, in relation to the attribution by pupils or by other fellow-artists - like his cooperation in many paintings with Breughel, for instance
1605 - 1625

Painting

“They are fighting for access to the laboratories where photographs are retouched and biographies and histories rewritten.”

Milan Kundera book The Book of Laughter and Forgetting

Part I: Lost Letters (p. 22)
The Book of Laughter and Forgetting (1979)
Context: People are always shouting they want to create a better future. It's not true. The future is an apathetic void of no interest to anyone. The past is full of life, eager to irritate us, provoke and insult us, tempt us to destroy or repaint it. The only reason people want to be masters of the future is to change the past. They are fighting for access to the laboratories where photographs are retouched and biographies and histories rewritten.

History , Fight