Pablo Picasso Quotes
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Paradise is to love many things with a passion.
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In drawing, nothing is better than the first attempt.
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When you start with a portrait and try to find pure form by abstracting more and more, you must end up with an egg.
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The artist is a receptacle for emotions derived from anywhere: from the sky, from the earth, from a piece of paper, from a passing figure, from a spider’s web. This is a spider's web. This is why one must not make a distinction between things. For them there are no aristocratic quarterings. One must take things where one finds them.
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When I don't have red, I use blue.
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Work is a necessity for man. Man invented the alarm clock.
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To draw you must close your eyes and sing.
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To make oneself hated is more difficult than to make oneself loved.
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Disciples be damned. It's not interesting. It's only the masters that matter. Those who create.
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This idea of art for art's sake is a hoax.
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The important thing is to create. Nothing else matters; creation is all.
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Is there anything more dangerous than sympathetic understanding?
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Only put off until tomorrow what you are willing to die having left undone.
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You're either a goddess ... or a doormat.
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Academic training in beauty is a sham. We have been so deceived, but so well deceived that we can scarcely get back even a shadow of the truth.
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It is your work in life that is the ultimate seduction.
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The more technique you have, the less you have to worry about it. The more technique there is, the less there is.
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They ought to put out the eyes of painters as they do goldfinches in order that they can sing better.
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Our goals can only be reached through a vehicle of a plan, in which we must fervently believe, and upon which we must vigorously act. There is no other route to success.
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I don't believe in accidents. There are only encounters in history. There are no accidents.
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Neither is there figurative and non-figurative art. All things appear to us in the shape of forms. Even in metaphysics ideas are expressed by forms, well then think how absurd it would be to think of painting without the imagery of forms. A figure, an object, a circle, are forms; they affects us more or less intensely. Boisgeloup, winter 1934.
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What is a face, really? Its own photo? Its make-up? Or is it a face as painted by such or such painter? That which is in front? Inside? Behind? And the rest? Doesn't everyone look at himself in his own particular way? Deformations simply do not exist.
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We have a lot of reasons but only one real one.
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If only we could pull out our brain and use only our eyes.