Painters From France

"Don't you think your Corot [to Guilemet the painter] is a little short on temperament? I'm painting a portrait of Vallabreque; the highlight on the nose is pure vermilion [remark of Cezanne ca. 1860]"

"I've ripped it to pieces; your portrait, you know. I tried to work on it this morning, but it went from bad to worse, so I destroyed it.."

"Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything.. .A convent, a monastery, a phalanstery of painting where one could train together.. ..but no program, no instruction in painting.. ..drawing is still alright, it doesn't count, but painting – the way to learn is to look at the masters, above all at nature, and to watch other people painting.."

"See how the light tenderly love the apricots, it takes them over completely, enters into their pulp, light them from all sides! But it is miserly with the peaches and light only one side of them."

"This will be my picture, the one I shall leave behind.. .But the center? Where is the center? I can't find the center.. .Tell me, what shall I group it all around? Ah, Poussin's arabesque! He knew all about that. In the London 'Bacchanal', in the Louvre 'Flora' (both are paintings of Poussin, admired by Cézanne), where does the line of the figures and the landscape begin, where does it finish.. ..It's all one. There is no center. Personally I would like something like a hole, a ray of light, an invisible sun to keep an eye on my figures, to bathe them, care them, intensify them.. ..in the middle [remark on one of his paintings https://upload.wikimedia.org/wikipedia/commons/2/27/Paul_C%C3%A9zanne_-_Seven_Bathers_-_Google_Art_Project.jpg 'The Bathers']"

"Here you are, put this somewhere, on your work table. You must always have this before your eyes.. .It's a new order of painting. Our Renaissance starts here.. .There's a pictorial truth in things. This rose and this white lead us to it by a path hitherto unknown to our sensibility.."

"Yes, a bunch of carrots, observed directly, painted simply in the personal way one sees it, worth more than the Ecole's everlasting slices of buttered bread, that tobacco-juice painting, slavishly done by the book? The day is coming when a single original carrot will give birth to a revolution."

"Painting from nature is not copying the object, it is realizing sensations."

"I still work with difficulty, but I seem to get along. That is the important thing to me. Sensations form the foundation of my work, and they are imperishable, I think. Moreover, I am getting rid of that devil who, as you know, used to stand behind me and forced me at will to 'imitate'; he's not even dangerous any more. [one week later Cezanne died]"

"As a painter I am beginning to see more clearly how to work from Nature.. .But I still can't do justice to the intensity unfolding before my eyes."

"To my mind one does not put oneself in place of the past, one only adds a new link."

"You must forgive me for continually coming back to the same thing; but I believe in the logical development of everything we see and feel through the study of nature and turn my attention to technical questions later."

"Alas! The memories that are swallowed up in the abyss of the years! I'm all alone now and I would never be able to escape from the self-seeking of human kind anyway. Now it's theft, conceit, infatuation, and now it's rapine or seizure of one's production. But Nature is very beautiful. They can't take that away from me. [in the last conversation Vollard had with Cezanne]"

"The point to be made clear is that, whatever may be our temperament, or our power in the presence of nature, we have to render what we actually see, forgetting everything that appeared before our own time. Which, I think, should enable the artist to express his personality to the full, be it large or small. Now that I am an old man, about seventy, the sensations of colour which produce light give rise to abstractions that prevent me from covering my canvas, and from trying to define the outlines of objects when their points of contact are tenuous and delicate; with the result that my image or picture is incomplete. For another thing, the planes become confused, superimposed; hence Neo-Impressionism (initiated by Seurat and Paul Signac, ed., where everything is outlined in black, an error which must be uncompromisingly rejected. And nature, if consulted, shows us how to achieve this aim."

"Allow me to repeat what I said when you were here: deal with nature by means of the cylinder, the sphere and the cone, all placed in perspective, so that each side of an object or a plane is directed towards a central point. Lines parallel to the horizon give breadth, a section of nature, or if you prefer, of the spectacle spread before our eyes by the 'Pater Omnipotens Aeterne Deus'. Lines perpendicular to that horizon give depth. But for us men, nature has more depth than surface, hence the need to introduce in our vibrations of light, represented by reds and yellows, enough blue tints to give a feeling of air."

"This is what happens, unquestionably – I am positive: an optical sensation is produced in our visual organ, which leads us classify as light, half-tone or quarter-tone, the planes represented by sensations of color. [Thus the light does not exist for the painter]. As long as, inevitably, one proceeds from black to white, the former of these abstractions being a kind of point of rest both for eye and brain, we flounder about, we cannot achieve self-mastery, get possession of ourselves. During this period (I tend to repeat myself, inevitably) we turn to the admirable works [of the five great Venetian painters a. o. Titian and Tintoretto] handed down to us through the ages, in which we find comfort and support..."

"I work obstinately, and once in a while I catch a glimpse of the Promised Land. Am I to be like the great leader of the Hebrews, or will I really attain unto it?. .I have a large studio in the country. I can work better there than in the city. I have made some progress. Oh, why so late and so painful? Must art indeed be a priesthood, demanding that the faithful be bound to it body and soul?"

"Art is no longer a purely visual experience.. ..it is a work of our intellect triggered by nature.. ..the imagination again become the queen of our strengths and we liberate our sensitivity."

"Painting is first of all the art of imitation, and not the servant of some imaginary 'purity'"

"I believe that art should sanctify nature."

"..Every work of art is a transposition,a caricature,the passionate equivalent of a sensation received."

"Don't lose sight of the essential objectives of painting, which are expression, emotion, delectation; to understand the means, to paint decoratively, to exalt form and color."

"The sublime is to approach the subject or wall with an attitude that is grand, noble, and in no way petty.."

"What amazement, followed by what a revelation! In place of windows opening on nature, like the impressionists, these were surfaces which were solidly decorative, powerfully colorful, bordered with brutal strokes, partitioned."

"Art is no longer a visual sensation that we gather, like a photograph, as it were, of nature. No, it is a creation of our spirit, for which nature is only the occasion."

"To synthesize is not necessarily to simplify in the sense of suppressing certain parts of the object: it is to simplify in the sense of rendering intelligible. It is, in short, to put in hierarchic order: to set each picture to a single rhythm, to a dominant; it is sacrifice, to subordinate — to generalize."

"Art is the sanctification of the nature, of that nature found in everyone who is content to live."

"The common error of us all [in late Impressionism] was to search above all for the light. It would have been better first to search for the Kingdom of God and his justice, that is to say for the expression of our spirit in beauty, and the rest would have arrived naturally."

"..the classical aesthetic offers us at the same time a method of thinking and a method of wanting to be, a moral and at the same time a psychology.. .The classical tradition as a whole, by the logic of the effort and the greatness of results, is in some way parallel with the religious tradition of humanity."

"Think of late paintings where Christ is the central figure.. .Remember the large mosaics of Rome. Reconcile the employment of large-scale decorative means and the direct emotions of nature."

"Art remains a sure refuge, the hope of a reason in life from now on, and the consoling thought that little beauty manifests itself in our lives, and that we are continuing the work of Creation.. .Therefore the work of art has merit, inscribed in the marvelous beauty of flowers, of light, in the proportion of trees and shape of waves, and the perfection of faces; to inscribe our poor and lamentable life of suffering, of hope and of thought."

"The profoundness of our emotions comes from the sufficiency of these lines and these colors to explain themselves.. ..everything is contained in the beauty of the work."

"Remember that a picture, before being a battle horse, a female nude or some sort of anecdote, is essentially a flat surface covered with colors assembled in a certain order."

"Decorative and edifying. That is what I want art to be before anything else."

"Like music my drawings transport us to the ambiguous world of the indeterminate."

"The artist lives only day by day, and is the recipient of the things that surround him; he transposes sensations from outside, according to what the fate reserves him, but transforms them relentlessly and tenaciously, in a manner determined by him alone."

"Francesco Filippini"

"On the left is the realist tradition of the 19th century, with its impulse to social description, radical criticism and meditation on things as they are.. ..culminating in Courbet at his mightiest [paintings] (The Studio, The Funeral at Ornans and a portrait of a trout that has more death in it than Rubens could get in a whole Crucifixion)."

"The task was to combine the two [ Paul Cézanne's dialectical method revealing the process of seeing - Courbet by his materialism]. Followed up separately, each would lead to a cul-de-sac: Courbet's materialism would become mechanical; the force of gravity, which gave such dignity to his subjects, would become oppressive and literal. Cézanne's dialectic would become more and more disembodied and its harmony would be obtained at the price of physical indifference. Today, both examples are followed up separately."

"Courbet, whilst still using paint on canvas, wanted to go beyond [pictorial] conventions and find the equivalent of the physical sensation of the material objects portrayed: their weight, their temperature, their texture. What perspective towards the horizon meant to Poussin, the force of gravity meant to Courbet. (italics in original)"

"No painter before Courbet was ever able to emphasize so uncompromisingly the density and weight of what he was painting."

"A work of art must narrate something that does not appear within its outline. The objects and figures represented in it must likewise poetically tell you of something that is far away from them and also of what their shapes materially hide from us. A certain dog painted by Courbet is like the story of a poetic and romantic hunt."

"Courbet is the father of the new painters."

"But what an eye Monet has, the most prodigious eye since painting began! I raise my hat to him. As for Courbet, he already had the image in his eye, ready-made. Monet used to visit him [Courbet], you know, in his early days."

"These great 'Waves' – the one in Berlin ['The Wave' (La Vague), 1869] is prodigious, one of the marvels of the century, far more swollen and palpitating than this one [the painting 'Stormy Sea', Cézanne saw in the Louvre]; a muddier green and a dirtier orange [in 'The Wave' of Berlin] – a tangle of flying spray, a tide drawn from depths of eternity, a ragged sky, the livid sharpness of the whole scene. It seems to hit you full in the chest, you stagger back, the whole room reeks of sea-spray."

"A builder. A rough and ready plasterer. A colour grinder. He [Gustave Courbet] is like a Roman bricklayer. And yet he's another true painter. There's no one in this century that surpasses him. Even though he rolls up his sleeves, plugs up his ears, demolishes columns, his workmanship is classical!.. .His view was always compositional. His vision remained traditional. Like his palette-knife, he used it only out of doors. He was sophisticated and brought his work to a high finish.. .His great contribution is the poetic introduction of nature - the smell of damp leaves, mossy forest cuttings - into nineteenth century painting; the murmur of rain, woodlands shadows, sunlight moving under trees. The sea. And snow, he painted snow like no one else!"

"I recently saw the exhibition of French art (on the Boschkant) from the collections of Mesdag, Post &c. .. .I especially liked the large sketch by T. Rousseau from the Mesdag collection, a drove of cattle in the Alps. And a landscape by Courbet ['Hilly landscape', 1858/1859 59] yellow hilly, sandy ground, with fresh young grass growing here and there, with black brushwood fences against which a few white birch trunks stand out, grey buildings in the distance with red and blue slate roofs. And a narrow, small, light delicate grey band of sky above. The horizon very high, however, so that the ground is the main thing, and the delicate little band of sky really serves more as contrast to bring out the rough texture of the masses of dark earth. I think this is the most beautiful work by Courbet that I've seen so far."

"If Courbet could only paint what he saw, he saw wonderfully, he saw better than anybody else. His eye was a subtle and assured mirror, where the most fleeting sensations, the most delicate nuances became clear. With this exceptional ability to see, came an exceptional ability to render what he saw. Courbet used paint thickly, but without harshness and without roughness: his pictures are as smooth as ice, and shine like enamel. He achieves relief and movement at the same time by using just the right shade; and this shade, put on flat with a palette knife, acquires an extraordinary intensity. I have never seen any richer or more distinguished use of colour, nor one that gains so much with age."

"No doubt the artist [Courbet, who exhibited his painting 'Stormy sea' / 'The wave'] has rendered the tremendous, sonorous, roaring of it all, but it seems instead of waves to be rolling rocks from the shore and shingle from the beach. You may look in vain for a drop of water in this petrified ocean. If you took any portion of this picture at random and showed it to anyone who had not seen the whole he would take it for a piece of a wall."

"In a great bare room [at Étretat, Normandy], a fat, dirty, greasy man [Courbet] was spreading patches of white paint on to a big bare canvas with a kitchen knife. From time to time he went and pressed his face against the window-pane to look at the storm. The sea came up so close that it seemed to beat right against the house, which was smothered in foam and noise. The dirty water rattled like hail against the windows and streamed down the walls. On the mantelpiece was a bottle of cider and a half-empty glass. Every now and then Courbet would drink a mouthful and then go back to his painting. It was called 'The Wave', and it made a good deal of stir in its time."