painters-from-france

"Leibniz noted that things can be compared either in terms of what one contains of the other, which is to compare them by their quantity, or in terms of their similarity to one another, which is to compare them by their qualities. To reduce a question of measurement to a question of order or arrangement is therefore to move from the point of view of quantity to that of quality, to move from a lower genus, where deduction is appropriate, to a higher genus, where only intuition has a place [...]. (La filosofia di Pascal, p. 153)"

"Above all, [Félix Ravaisson] was a writer. He expressed himself in broad, flexible, simple and wise phrases, elegant and solid with an air of abandon, and the logical relationships between ideas and the aesthetic harmony that coordinates them and the creative action that brings forth the details, conditions and elements from the whole and from the beginning. His style is the very soul grasped in his inner life and in the secret movement through which it gives itself and spreads. (La filosofia di F. Ravaisson, p. 116)"

"[...] the person of Ravaisson himself is like the act, the fulfilment of the thought which, in his written philosophy, aspires to realise itself. He immediately distinguished himself by a grace, a distinction, a smiling serenity that never disappeared. He attracted people with his good grace and impressed them with his fundamental affinity with the noble and the great. He spoke with absolute simplicity and probity, concerned only with thinking correctly and expressing his thoughts faithfully and naturally, without ever allowing a word of effect or rhetorical artifice to enter his mind. He spoke about everything and was interested in the small pleasures of the world as well as the great questions of philosophy and life. But in all things he saw the link between the ideal and the real. Like the ancient Greeks, he saw the divine in everything. (La filosofia di F. Ravaisson, pp. 115-116)"

"An attempt has been made to prove, by means of selected passages from Pascal's Pensées, an apology for Christianity which he left in draft form, that by sacrificing reason to faith he denied the possibility of all philosophy. I propose to show, not as others seem to have done successfully, that Pascal was not a sceptic, but that in his “'Pensées”' there are, if not a system comparable in scope and detail to those of Descartes, of a Spinoza, a Malebranche or a Leibniz, at least the ideas that constitute the principles of a true philosophy. I propose to show equally that these ideas are in perfect agreement with Pascal's beliefs, and that there is no reason to be surprised by them, because there are none more suitable for harmonising, and even intimately uniting, Christianity and philosophy in their highest parts. (La filosofia di Pascal, p. 131)"

"The whole person of Ravaisson was the manifestation of one unique thing: his intimate union of thought and heart with spiritual and eternal realities. Deep down, he did not believe in death because he was convinced that what passes away has its being only in what remains. He saw things and people not only in their ideas, like Plato, but in their source, which is infinite love, superior to the Idea and unfailing. He not only professed his doctrine with conviction, but lived it. (La filosofia di F. Ravaisson, p. 116)"

"Pascal contrasts the objects of mathematics with other objects that are completely different, which he does not group under a common name, but merely enumerates and describes, although it is easy to recognise what he might have called, if he had had the language of his time, things of an aesthetic and moral nature; and at the same time he characterises with precise features the faculties of the mind to which these two kinds of objects respectively belong. No one else, in fact, had a clearer awareness of the difference between the two orders of things and faculties, whose contrast corresponds to that of matter and spirit; no one else had such a correct and vivid sense of the special nature of the two orders, and knew their consequences so well. (La filosofia di Pascal, p. 144)"

"Le dessin est la probitè de l’art."

"They do not realize that it is contrary to order and nature to place very large and massive things in high places or to make very delicate or weak bodies carry heavy weights."

"I never feel myself so stimulated to be painstaking as after I have seen a beautiful object."

"What perspective towards the horizon meant to Poussin, the force of gravity meant to Courbet. (italics in original)"

"To judge well is very difficult. To do so requires both theory and practice."

"There are two ways of seeing things. One is simply looking at them, the other means considering them attentively. Only to see is nothing else but receiving into the eye the form or likeness of the object looked at, but to consider a thing is more than this; that is, to seek with special diligence after the means of knowing this object thoroughly."

"Virgil, above all others, has shown himself a great observer. So proficient is he that often, by the mere sound of words chosen, he actually puts before us the thing described. If he speaks of love, his words are so skillfully brought together that a sweet harmony results, whereas, when he sings of warlike deeds or describes a tempest, the verse hastens, and the resonant sounds admirably depict a scene of fury, tumult, and terror."

"One sees a kind of procession of Egyptian priests, whose heads are shaven and crowned with leaves; they wear the dress of the land. Some carry cymbals, flutes and trumpets, others bear sticks adorned with carved hawk's heads. Some stand under a portico, others take their way to the Temple of Serapis. These last bring hither a casket, holding the god's bones. Behind a priestess, clothed in yellow, is seen a kind of building, made for the bird ibis, represented on its walls. In this picture is a tower whose top is concave, and there is also a vase to receive dew. This scene is not a caprice of the imagination. All has been taken from that famous Temple of Fortuna at Palestrina, whose pavement, composed of beautiful mosaics, depicts in a true and good manner the history of Egypt and Ethiopia. I have put all these things into my picture, in order by their novelty and variety to please you, and also to show that the Virgin is really in Egypt."

"Reason, not appetite, should control the judgment."

"You do not need to trouble yourself to send me the other portions of your poem; one can judge the lion by his claws. I have not yet seen the piece you sent, I am keeping it for some one who will know how to appreciate its beauty. It should not be wasted on a mediocre painter; that would be like casting pearls before swine."

"The orientalist vision of the Holy Scriptures even becomes popular with the illustrated editions of the Bible, from that of Gustave Doré of 1866, imaginative but with precise oriental references, to the very widespread one edited by James Tissot, who he inserts views of the cities, maps, architectural reconstructions and topographical surveys of the sacred stations with the aim of making biblical archeology reliable, otherwise distorted, as the curator claims, by the fervent imagination of the artists. In one sense or another, the drive to seek the living testimonies of the Holy Scriptures in the Eastern reality of the moment, and to permeate a disenchanted West, was relaunched in the second half of the nineteenth century by the neo-spiritualist attempt to reaffirm the primacy of faith in the era of scientific materialism . (Attilio Brilli)"

"The character of his art, in which a very varied and lively inventiveness predominates, reflects the very otherwise ingenious taste of E. Delacroix, with whom he shares the dynamic and excited research, the chiaroscuro contrasts and the traits of environmental realism, without attempting to compete with him in creative richness and originality. (Valerio Mariani)"

"[H]eavy load of his far-from-dead past, which was beginning to seem like an albatross around my neck."

"Even if my main product is webcomics, I know that there's a whole generation for whom a real author is someone who makes books."

"It's a dream come true! Every artist I know would love to make their own comics. Would love to get paid for making it, and to keep the control of it, about the stories, about the heart."

"The names of the characters in Pepper & Carrot all actually follow the names of plants, herbs, and for the animals that accompany them, vegetable names. So for all the spice names, what inspired me was simply going to do my shopping at the traditional market, there are always grocers' stalls, and then I saw 'coriander', I saw 'saffron', I saw 'pepper', and there it was. There was 'poivre' but in French it sounded too much like 'poivrot'. So I said to myself "We're going to avoid 'poivrot' and 'carrot'", which didn't work very well, which is why I kept the English 'Pepper'."

"That was a really bad week: [I] had to spend a lot of money and my productivity was totally ruined."

"Before 2000 [and the internet], you had to pay for a book or go to exhibitions to see new artworks. And suddenly many artists were on the internet, and you could see thousands of artworks daily."

"I'm really happy if Pepper & Carrot can bring more money for external people."

"I'll never regret making Pepper&Carrot so open."

"Managing everything on this project is hard and challenging, but extremely rewarding on a personal level. Pepper&Carrot is the project of my dreams."

"Art is about man's belonging to the world and it is through art that man, through aesthetic emotion, experiences awareness of his existence. The artist grasps the world, and the world that appears to us in fractions he restores to us in unity."

"The beauty in a work of art is not in the prettiness of what is represented, but emanates from the work as a whole, it is its substrate and it derives from nature."

"I'm always scared when I think that man who is a being endowed with abilities of reflection, is not capable of solving their personal or collective disputes without violence."

"How to create works of art when nothing connects people to the world? If the artist remains fixed from himself to himself, without any distance in which a relationship to the world and to the other can be inscribed, his work will remain sterile as in the Greek myth of Hesiod's genesis, and is in no way different from any other object."

"The severity of Monsieur Ingres frightened me. I tell you, because he doubted the courage and perseverance of a woman in the field of painting. He wished to impose limits. He would assign to them only the painting of flowers, of fruits, of still lifes, portraits and genre scenes...I quickly understood that I could take no part in that school except to waste my time."

"No one has ever arrived at a power of analysis of tonal values at once so intense and so sweet...Monet may or may not have thought out these works, but with what vigor he has executed them...I cannot say at what point Monet arouses my emotions, but he produced in me such sensations as make me happy, but which I could not have discovered myself. He opens my eyes and makes me see better."

"Impressionism has produced by this very method not only a new, but a very useful way of looking at things. It is as though all at once the window opens and the sun and air enter your house in torrents. Nature appears clear, enchanted, interesting. It is as though suffocating air had been let out of your attic!"

"Timed to coincide roughly with the opening of the blockbuster Matisse-Picasso exhibition's third and final stop, at New York's MoMA... Flam is terrific. Flam locates... productive appropriations and reappropriations between the two painters over the years, so that anyone standing in line for the exhibition in Queens will profit..."

"[T]heir tumultuous relationship is examined and brilliantly told."

"Flam has given us a lucid and compelling study of these two geniuses, explaining what made them so good, and why part of the answer is: each other."

"Jack Flam explores the compelling, competitive, parallel lives of these two artists and their very different attitudes toward the idea of artistic greatness, toward the women they loved, and ultimately toward their confrontations with death."

"Matisse's response to Picasso's inventive reorganization of the human figure was concentrated in one of his most sublimely sensuous pictures of Lydia [Delectorskaya], the so-called Pink Nude... which was his variation on the pose of his 1907 Blue Nude. ...Returning to a practice he used with the Barnes murals, he photographed... while it was in progress... As with the murals, he also used pieces of cut paper to make quick modifications to the composition without having to wait for the paint to dry. ...[T]he painting began as a relatively naturalistic rendering... As the picture developed, Matisse radically altered not only the composition but its basic pictorial language... He also tried to augment the forcefulness of the figure by contorting it in a manner similar to Picasso's. ...But in the end, such an approach was not true to his vision, and he reverted..."

"Picasso signed on for his own retrospective exhibition at the same gallery [Galerie Georges Petit], to open... 1932, exactly one year after the Matisse show... Picasso had been referring to Matisse's works for the past several years, playfully and often with more than a hint of mockery, but now he raised the stakes and produced several paintings that are usually characterized as his most "Matissian," with bright colors, sweeping arabesques, intense decorative patterning, and an extravagantly lyrical sensuality. These... are in a sense more "Matissian" than anything Matisse himself had previously done; in a curious way, they anticipate Matisse's late style several years before Matisse had formulated it."

"[T]he trauma of the war forged a new solidarity between them. As the two most prominent artists in France, they came to stand for French culture, and even—in the face of barbarous fascism—for the values of civilization itself. (This was an ironic turnabout; before the war they were frequently accused of having introduced barbarism into modern art.) The probity of their personal comportment also stood in clear contrast to the shoddy behavior of a number of their colleagues, such as Vlaminck and Derain, who accepted invitations to go on propaganda trips to Nazi Germany."

"[A]fter Matisse's death... he became fixed on the idea of doing variations on the masters, and these became a subgenre within his work. His variations seem to be animated by a desire both to possess a work of the master and to measure himself against it. ...Picasso is again asking the same question about the greatness of his gifts that he had posed... when he and Matisse first met. ...as if he were again struggling against doubts about whether his election as a great artist was really strong enough to defeat death. (This was something Matisse never visibly questioned, at least in his work.) ...Picasso does seem to have been profoundly concerned about the possible death of his creative gift, and perhaps about its validity early on and the degree to which his work would survive him. For a Spanish artist, the pinnacle of comparison would be with Diego Velázquez ...His variations [see Las Meninas, 1957] on ' were an escape from the present, as well as an attempt to dominate the past and affirm his standing in the future."

"Marie-Thérèse was... a natural or "primitive" version of the uninhibited and all-accepting woman the Surrealists were trying so hard to construct. ...Their relationship was rooted in a complex game of hiding and revealing, which soon spilled over into his art. Picasso's earliest representations of her were not paintings but geometric line drawings of musical instruments, done in pencil, in which he encodes cryptograms that use her initials: M-T. There is something charmingly adolescent about the gesture... The linear style of these works [line and charcoal drawings, plus The Dress Designer's Workshop and The Painter and His Model] is directly related to the notational systems Picasso was using in the studies for his illustrations for Balzac's Unknown Masterpiece—a story in which a seventeenth-century painter named Frenhof spends years working on what is supposed to be his masterpiece, and overworks it to such a degree that he finally produces an incomprehensible muddle."

"If Matisse's triumph was... to transcend death by bravely ignoring it, Picasso's triumph was to look death and decay straight in the face and not flinch. Though it was not possible to report back from that "undiscover'd country from whose bourn no traveler returns," at least he would send back images from the most distant frontiers that adjoined it."

"Although ' was the most unnerving painting Picasso had done, Three Women... was more directly challenging to Matisse. ...The early version... that Matisse saw... encroached on territory Matisse had thought was his. The subject and style... owed much to Cézanne... The underlying subject... was also one that Matisse had been working with... in which process—the coming into being of things—was emphasized over stability. ...[I]ts outward-spiraling composition of three figures that seem to emerge from the bowels of the earth ...was a more resonant evocation of primal beginnings than had been Matisse's... Le Bonheur de vivre or Le Luxe... Three Women... contained a bold imbrication of the figures within their background—a motif Matisse had employed in his Fauve paintings, such as Woman in a Japanese Robe Beside the Sea... But whereas Matisse's merging... was based on... optical sensations, Picasso was developing a... symbolic language. ...also something Matisse had been involved with... especially in his... treatment of mythological themes. Picasso's Three Women seemed to combine references to a standard mythological theme... the Three Graces [previously classically painted by Botticelli, Raphael and Rubens], with a more generalized "birth of the world" imagery that went to the heart of the that had haunted both... along with... Derain, Vlaminck, and Braque... In response to Three Women, Matisse painted '..."

"In "Ma Jolie,"... the most concrete information about the woman comes largely through the two words "MA JOLIE," which refer to the refrain from a popular song. ...It is commonly said that a picture is worth a thousand words. But in this picture two words are reveal more than the entire image. ...In its hesitation at the limits of abstraction, the painting casts doubt on the whole enterprise of visual representation."

"Picasso was deeply impressed by Matisse's Goldfish and Pallete, and its emotional force and resonant use of black seem to have influenced his 1915 Harlequin... Harlequin is one of Picasso's first clear images of a divided personality. ...This evocation of multiple identities is given an added dimension by the rendering of... an unfinished canvas. ...Because this rectangle is rendered in a painterly way, it also suggests... the process of painting... a reminder of the impossibility of completeness, either in painting or in life. ...[W]hen Matisse saw Harlequin... he told the dealer that his goldfish had led to it, for in this painting Picasso had picked up precisely those aspects that Matisse had taken from him, such as the conflation of the figure with its surroundings, the suggestion of different psychological viewpoints, the fractured planarity, and... the situating of the picture in a space... somewhere between the thought and the seen, the internal and the external. In Harlequin, Picasso responds with his own version of multiple realities... the strong sense of process and... use of black... to evoke both light and darkness... as lessons from Matisse's painting."

"Matisse's works collectively give very little sense of a life long lived. ...Matisse's works give a vivid sense of a life lived as an artist, but not nearly the sense that Picasso gives of a life lived as a man. ...Matisse gives almost no sense of the political or economic history of the twentieth century, or of the demonic energies it unleashed... no sense that an artist might feel to take revenge upon the world. There is no equivalent of Picasso's Guernica... or to the death-haunted still lifes or harrowing political allegories, such as '. Nonetheless, Matisse's painting does provide a profound engagement with the spiritual uncertainties of the century, and a very personal response... in his inspired balance between observation, analysis, and the pure poetry of painting."

"Artists of the previous generation, such as Cézanne and van Gogh, had employed systematic "distortions" in their works, but... as part of a... direct way of communicating the "truth" of his own personal vision. Picasso's contemporaries, including Matisse, followed in that tradition. Matisse's varied styles between 1905 and 1918 had grown out of his direct visual responses... and were not calculated to be artificial or arbitrary. Picasso, by contrast, insisted that there were many possible ways of arriving at the truth, and that all of them were equally artificial. ...the artist could choose among many different visual languages ...Each of these modes or styles ...being inherently expressive of attitudes that were implicitly contained within the style itself."

"All this countryside [along the Seine] was calm and peaceful. The strongest emotions I have experienced on the high roads or on the hill tops whence I could see down into the valleys on to the roofs of houses which I felt I could reach out and touch with my hand.. And then I was tempted to begin painting [c. 1893 - 17 years old].. .I composed instinctively and awkwardly. I applied colors with only one idea which justified everything: to express what I felt. I painted hesitantly and exclusively for myself and no one else. It seemed to me that water, sky, clouds and trees understood the happiness they gave me."