El Greco Quotes
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Art is everywhere you look for it, hail the twinkling stars for they are God's careless splatters.
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...Michelangelo was a good man, but he did not know how to paint.
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Anyway, I would not be happy to see a beautiful, well-proportioned woman, no matter from which point of view, however extravagant, not only lose her beauty in order to, I would say, increase in size according to the law of vision, but no longer appear beautiful, and, in fact, become monstrous.
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Can the darkness condemn the light?
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Painting, because of its universality, becomes speculation.
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I paint because the spirits whisper madly inside my head.
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It is only after years of struggle and deprivation that the young artist should touch color - and then only in the company of his betters.
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It has been necessary to show the Hospital de Tavera as a model, for the building hides the Visagra Gate, and the dome obscures part of the town, and once treated as a model and moved from its place, it seemed better to me to show the main façade.. ..the rest, and its proper relationship to the town can be seen on the plan. Also, in the representation of Our Lady presenting the Chasuble to Saint Ildefonso, in making the figures large, I have applied, in some way, the observation made of celestial bodies that an illuminated body seen at a distance may appear large although it be small.
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I am neither bound to say why I came to this city nor to answer the other questions put to me.
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Artists create out of a sense of desolation. The spirit of creation is a excruciating, intricate exploration from within the soul.
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..because in this way the form will be perfect and not reduced, which is the worst thing that can happen to a figure.
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The language of art is celestial in origin and can only be understood by the chosen.
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I was created by the all powerful God to fill the universe with my masterpieces.
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Now, in order to claim some knowledge of painting, Vitruvius speaks of the consideration of the perfect human body and about how good sculptors and painters in order to make it give it a height of ten faces, and I say that according to them they have read and they say that this proportion is based on knowledge of measurement and that it happens that without it it is not possible to have proportion or consideration because those who are not cognizant of this do not count.
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If Vasari really knew the nature of the Greek style of which he speaks, he would deal with it differently in what he says. He compares it with Giotto, but what Giotto did is simple in comparison, because the Greek style is full of ingenious difficulties.
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I hold the imitation of colour to be the greatest difficulty of art.
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I suffer for my art and despise the witless moneyed scoundrels who praise it.