Pablo Picasso Quotes
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Forcing yourself to use restricted means is the sort of restraint that liberates invention. It obliges you to make a kind of progress that you can't even imagine in advance.
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Almost every evening, either I went to [Georges] Braque's studio or Braque came to mine. Each of us had to see what the other had done during the day. We criticized each other's work. A canvas wasn't finished unless both of us felt it was.
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He was an Afghan Hound name Kabul. Since him I have had other Afghan Hounds.... Perhaps I am looking for his ghost. He is the only one that I sometimes think about. Often, if he comes in to my mind when I am working, it alters what I do. The nose on the face I am drawing gets longer and sharper. The hair of the woman I am sketching gets longer and fluffy, resting against her cheeks like his ears rested against his head.
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It was thinking about Casagemas's death that started me painting in blue.
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I never calculate. That is why those who do, calculate so much less accurately than I.
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Imitators? All right! Disciples if you like. But disciples be damned. It's not interesting.
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I don't own any of my own paintings because a Picasso original costs several thousand dollars and that's a luxury I cannot afford.
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Have you noticed that bones are always modeled and not carved, that you always have the impression they come from a mold, that they were first modeled in clay? Any bone you look at, you always find fingerprints on it.
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The fingerprints of the god who amused himself fashioning them - I can see them on any bone whatsoever.
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I don't know in advance what I am going to put on canvas any more than I decide beforehand what colours I am going to use.
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The artist spends the first part of his life with the dead, the second with the living, and the third with himself.
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Art sweeps the everyday dust from your soul.
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I treat paintings as I treat objects. If a window in a picture looks wrong, I close it and draw the curtains, just as I would do in my own room.
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To arrive at abstraction, it is always necessary to begin with a concrete reality.
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I am only a public entertainer who understands his time.
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Motivation is in the world around us. We have an infinite amount of material at our disposal, in the lives of those we meet, in what we see and feel, in what we discuss and from the passion of every woman.
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The painter goes through states of fullness and evaluation. That is the whole secret of art.
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The only thing that's important is the legend created by the picture, and not whether it continues to exist itself.
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A painting only lives in the eye of the beholder.
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The earth doesn't have a housekeeper to do the dusting. And the dust that falls on it every day remains there. Everything that's come down to us from the past has been conserved by dust.
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I would like to manage to prevent people from ever seeing how a picture of mine has been done. What can it possibly matter? What I want is that the only thing emanating from my pictures should be emotion. Boisgeloup, winter 1934.
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It's a poor artist who borrows--a good artist steals.
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Matisse makes a drawing, then he makes a copy of it. He recopies it five times, ten times, always clarifying the line. He's convinced that the last, the most stripped down, is the best, the purest, the definitive one; and in fact, most of the time, it was the first. In drawing, nothing is better than the first attempt.
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Even if the painting is green, well then! The 'subject' is the green. There is always a subject; it's a joke to suppress the subject, it's impossible.