Pablo Picasso Quotes
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The urge to destroy is also a creative urge.
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To me there is no past or future in my art. If a work of art cannot live always in the present it must not be considered at all. The art of the Greeks, of the Egyptians, of the great painters who lived in other times, is not an art of the past; perhaps it is more alive today than it ever was.
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I have discovered photography. Now I can kill myself. I have nothing else to learn.
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Why do you try to understand art? Do you try to understand the song of a bird?
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I have a real passion for bones. I have many others in Boisgeloup: skeletons of birds, dog's and sheep's heads. I even have a rhinoceros skull.
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How could Michelangelo have seen his David in a block of marble? Man began to make images only because he discovered them nearly formed around him, already within reach. He saw them in a bone, in the bumps of a cave, in a piece of wood. One form suggested a woman to him, another a buffalo, still another the head of a monster.
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A good picture, any picture, has to be bristling with razor blades.
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If you take my sayings and explode them in the air, they remain only sayings. But if you fit them together in their correct places, you will have the whole story.
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The goal I proposed myself in making cubism? To paint and nothing more... with a method linked only to my thought... Neither the good nor the true; neither the useful nor the useless.
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There are painters who transform the sun to a yellow spot, but there are others who with the help of their art and their intelligence, transform a yellow spot into sun.
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Basically the French are all peasants.
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Never copy yourself, always copy someone else.
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That inspiration comes, does not depend on me. The only thing I can do is make sure it catches me working.
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Art is a lie that makes us realise truth ... that is given us to understand.
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...the right to free expression is something one seizes, not something one is given.... if it does exist, it exists to be used against the established order.... There is absolute opposition between the artist and the state.
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It's insane how many Roman coins are being found! It's as if all Romans had holes in their pockets. They sowed coins wherever they went. Even in the fields. Maybe to grow money . . .
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There's nothing more difficult than a line.
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Painting isn't an aesthetic operation; it's a form of magic designed as mediator between this strange hostile world and us.
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I must keep on trying, just to keep the experiment going until I get tired of it all. Even if the last result is not necessarily the best, I stop when my interest in the problem wanes.
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The trouble is, we've been taught what to see and how to render what we see. If only we could be in the position of those men who did those wonderful drawings in Lascaux and Altimira!
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If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.
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When we did Cubist paintings, our intention was not to produce Cubist paintings but to express what was within us. No one laid down a course of action for us, and our friends the poets followed our endeavour attentively but they never dictated it to us.
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I want to create a cat like the real cats I see crossing the streets, not like those you see in houses. They have nothing in common. The cat of the streets has bristling fur. It runs like a fiend, and if it looks at you, you think it is going to jump in your face.
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I hate it when people pilfer my things.