Sculptors

"The intrinsic decorative urge should not be eradicated. It is one of humankind's deep-rooted, primordial urges. Primitive people decorated their implements and cult objects with a desire to beautify and enhance.. ..it is a sense emanating from the urge for perfection and creative accomplishment."

"I am sending you.. ..a portfolio containing ten lithographs by Daumier.. .These are rare by now and I prize them much. I often used to look at them but I am sending them to you in order to give you an opportunity to fill your mind with the real artistry of these two great masters. I am entrusting them to you in the expectation that you will take good care of them, and bring them with you on your next trip. There is nothing better in lithography."

"At the moment of our writing these lines, M. Daumier, sentenced to six months' imprisonment for the caricature of 'Gargantua' was arrested under the eyes of his father and mother, whose sole support he is."

"Dear Mr. Moureaux, You will soon receive your drawing [made by Daumier], you just need a little patience. I saw Daumier on my last trip to Paris. Since I will not be able to come to the lunch in your honor I want to tell you that I will be with you in my imagination. I shake your hand, J.F. Millet, see you soon."

"He loved this little cot [in Valmondois]. There were passed the only hours of his life in which he was permitted to escape from the tyranny of his calling; to hug closely his fair dreams of art; in short, to know that fruitful, restful, and encouraging work of hours chosen and determined at will. Another attraction made still more dear to him this secluded corner of an obscure village. Not only could he there breathe freely and work at ease; but he felt himself encompassed by warm friendship, neighboured by brave comrades who loved him, and who, like himself, meditated far from the bustle of towns."

"[at Charles-François Daubigny's place where] ..animated conversations on the direct study of nature or the comparative merits of Haarlem paint driers and thick oil paints were often interrupted bu bursts of merriment greeting a witticism of one of the guests, who included non other than Corot, Daumier, Geoffroy-Dechaume, etc."

"'We have not died in vain'"

"'The swarm of ducks so darkens the sky that poor Europe does not know which way to go'"

"Dear Monsieur, I can make a drawing for you; when you have time to see me we will talk about it. I am always at home during the day. I have the honor of greeting you, h. Daumier."

"Paris, 30-7-1843, h. Daumier - I, the undersigned, Honoré Daumier declare to reduce the price of my drawings in lithography, to forty francs the drawing with the condition 1st, that the first 11 stones which I will deliver to 'Charivari' will be paid to me at the old price, that is, fifty francs each. 2° that this reduction will be made to me as long as M Dutacy remains attached to the.. .'Charivari'; this having been made for the sole purpose of being agreeable to him."

"I was sick these days here is what prevented me from delivering my stones last Friday as I promised you I am in the purgations it is better and I hope to send my stones Tuesday at the latest.. .Bien a vous, - h. Daumier"

"As the misfortune befell in November [1918], I threw myself into the woodcut.. .It is a technique that provokes one to confession, to the unmistakable statement of what one finally means. It, or far more she, enforces a certain general validity of expression.. .I have finished a number of large woodcuts that deal with all of the distress of the times."

"I cannot kill. Unfortunately, there are so many who can and do kill. As I cannot kill I cannot authorize others to kill. Do you see? If you are buying from a butcher you are authorizing him to kill — kill helpless, dumb creatures, which neither I nor you could kill ourselves. So that I am for that reason a vegetarian, as most Russians are. For nine years I have been a vegetarian, and I shall be one — mind, I am a man with strong convictions — to the end of my life."

"From time to time he [Leo Tolstoy] posed – a tiring obligation – for painters and sculptors: for Repin, Pasternak who did a study of the family, Aronson, and Paolo Trubetskoy. Trubetskoy, a Russian educated in Italy, did some splendid little statues of Tolstoy – one of him on horseback. Father was very fond of him. A sweet and childlike person in addition to his great gifts, he read practically nothing, spoke little, all his life was wrapped up in sculpture. As a convinced vegetarian he would not eat meat but cried: “Je ne mange pas de cadavre!” if anyone offered him some. In his studio in St. Petersburg there was a whole zoo: a bear, a fox, a horse, and a vegetarian wolf."

"Prince Paul Troubetzkoy is one of the few geniuses of whom it is not only safe but necessary to speak in superlatives. He is the most astonishing sculptor of modern times. … Troubetzkoy is a gigantic and terrifying humanitarian who can do anything with an animal except eat it. Some of us remember the inaugural banquet in London of the International Society of Painters, at which the late Lord Haldane, presiding, announced, when all the conventional speechmaking was over, that the illustrious sculptor Paul Troubetzkoy desired to address the company, and how a figure of Patagonian stature arose amid polite applause, and began "Mr. President: is it not a monstrous thing that we, who are supposed to be artists and civilized men, and not savages, should be celebrating a great artistic occasion by gorging ourselves on the slaughtered corpses of our fellow creatures?""

"I mean, the official definition of Surrealism is to make a work automatically without a priori aesthetic or moral conditions, which is exactly what we do [artist in New York School / Abstract Expressionism]. At the same time Surrealism was an assault, - with a few exceptions: Giacometti, Arp and Miro - on the 'purity' of painting. I mean mean, on making painting - means themselves speak, without reliance on literature; and that second insistence of Surrealism, Americans really rejected. So that historically.. .Abstract Expressionism is in part, I think, a fusion of certain Surrealist means, above all plastic 'automatism' with the Cubist's insistence that the picture speaks as a picture in strictly pictorial language."

"What I see is teeming cohesion, contained dispersal…. For him, to sculpt is to take the fat off space."

"One starts by seeing the person who poses, but little by little all the possible sculptures of him intervene... The more real a real vision of him disappears, the stranger his head becomes."

"A little after I started to do sculpture, I painted some of them, and then I destroyed them all. I've begun again several times. In 1951, I painted a whole series of sculptures. But in painting them, you see what the form lacks. And it's useless to paint over something that you don't believe in. I tried again a month ago. In painting them, the deficiencies of form came through."

"There's no doubt but that without this liberté, égalité and fraternité there could not have been a Monet, Modigliani, Picasso, or Giacometti."

"Figures were never for me a compact mass but like a transparent construction."

"There was a third element in reality that concerned me: movement."

"It isn't necessary to make things large to make them monumental; a head by Giacometti one inch high would be able to vitalize this whole space."

"That's the terrible thing: the more one works on a picture, the more impossible it becomes to finish it."

"In every work of art the subject is primordial, whether the artist knows it or not. The measure of the formal qualities is only a sign of the measure of the artist's obsession with his subject; the form is always in proportion to the obsession."

"Whores are the most honest girls. They present the bill right away. The others hang on and never let go."

"And then the wish to make compositions with figures. For this I had to make (quickly I thought; in passing), one or two studies from nature, just enough to understand the construction of a head, of a whole figure, and in 1935 I took a model. This study should take, I thought, two weeks and then I could realize my compositions...I worked with the model all day from 1935 to 1940...Nothing was as I imagined. A head, became for me an object completely unknown and without dimensions."

"The most important experience was seeing the work of el Greco in the flesh. I was sixteen or seventeen, and for the first time I realized what painting really meant."

"Once in Spain, El Greco was able to create a style of his own - one that disavowed most of the descriptive ambitions of painting. Obviously his portraits involved precise observation, but the settings tend to be spectral."

"He [El Greco] has discovered a realm of new possibilities. Not even he, himself, was able to exhaust them. All the generations that follow after him live in his realm. There is a greater difference between him and Titian, his master, than between him and Renoir or Cézanne. Nevertheless, Renoir and Cézanne are masters of impeccable originality because it is not possible to avail yourself of El Greco's language, if in using it, it is not invented again and again, by the user."

"The accidents of our bodily constitution can always play this revealing role on the condition that they become a means of extending our knowledge by the consciousness which we have of them, instead of being submitted to as pure facts which dominate us. Ultimately, El Greco's supposed visual disorder was conquered by him and so profoundly integrated into his manner of thinking and being that it appears finally as the necessary expression of his being much more than as a peculiarity imposed from the outside. It is no longer a paradox to say that "El Greco was astigmatic because he produced elongated bodies." Everything which was accidental in the individual, that is, everything which revealed partial and independent dialectics without relationship to the total signification of his life, has been assimilated and centered in his deeper life. Bodily events have ceased to constitute autonomous cycles, to follow the abstract patterns of biology and psychology, and have received a new meaning."

"..using abstraction and avoiding literal illusionism, the artist [= El Greco] diverts the mind to the spiritual essence.. .El Greco made it clear that his heavenly figures are not members of the material world."

"In keeping with the traditions of the Venetians, El Greco's canvas ground was often red. However, in contrast to the Italian opaque ground, his red color was thinly laid on the white priming of the canvas, though not... as... . ...I believe that this ground was not made of red bole, but that it was an oil ground. The characteristic... brushstroke and the blending of his colors point to the use of a heat-treated oil rather than raw . ...[P]rincipally one layer of pigment was applied on top of the underpainting. ...The painter evidently did not labor over his paintings. The relative speed with which he advanced his work can be realized from the fact that "The Burial of Count Orgaz," his greatest painting, was delivered [in] fourteen months... Considering that he executed many other commissions during that... period and that his paintings were not the result of teamwork... he must have worked rapidly. ...El Greco's technique must be regarded as... the soundest method of oil painting. ...[T]here are practically no cracks or deteriorations of any kind... on most of his paintings."

"I disagree with those who assert that Titian and El Greco painted on a . ...In contrast to Titian, El Greco very frequently employed glazings ...In El Greco we find a curious combination of tempera school ideas associated with a freedom of the brush stroke surpassing that of his master, Titian. Like the tempera painters, El Greco often underpainted in and glazed upon such a monotone underpainting the fiery hues of madder lake, , azurite blue and yellow (probably ). This... largely accounts for the brilliance and extraordinary luminosity... But El Greco's grisaille... was brushed on roughly and the texture of the superimposed color often does not correspond with that of the grisaille. This... is an entirely unorthodox method. Entirely unconventional also was his use of the madder, which, at times, he applied with an extreme impasto defying the nature of this glazing color."

"During the course of the execution of a commission for the Hospital de Tavera [in Toledo], El Greco fell seriously ill, and a month later, on 7 April 1614, he died. A few days earlier, on 31 March, he had directed that his son Jorge Manuel should have the power to make his will."

"It was a great moment. A pure righteous conscience stood on one tray of the balance, an empire on the other, and it was you, man's conscience, that tipped the scales. This conscience will be able to stand before the Lord at the Last Judgement and not be judged. It will judge, because human dignity, purity and valor fill even God with terror.. .Art is not submission and rules, but a demon which smashes the moulds.. .Greco's inner-archangel's breast had thrust him on savage freedom's single hope, this world's most excellent garret."

"In any case, only the execution counts. From this point of view, it is correct to say that Cubism has a Spanish origin and that I invented Cubism. We must look for the Spanish influence in Paul Cézanne. Things themselves necessitate it, the influence of El Greco, a Venetian painter, on him. But his structure is Cubist."

"As I was climbing the narrow, rain-slicked lane - nearly three hundred years have gone by - I felt myself seized by the hand of a Powerful Friend [El Geco] and indeed I came to see myself lifted on the two enormous wings of Doménicos up to his skies which this time were full of orange trees and water speaking of the homeland."

"Let's face it, nobody could paint eyes like El Greco, and nobody can paint eyes like Walter Keane."

"In his picture of 'St Paul the Apostle' in the sacristy of Toledo cathedral, and also in all the known replicas of the picture, the epistle which the saint holds in his hands bears the inscription in Greek: 'Upos TLTOV TYjS XPlTtoV 'E'xxX.rfiias irpuTOV C7rt O"ypirov yeipoTOveOevra' (translation: Titus ordained the first bishop of the Cretans)."

"Even more important ... is the splendid seated full-length of Don Fernando Neno de Guevara, Inquisitor and Archbishop of Seville. ... Greco never indicated character more vitally and surely. The execution is that of his best period; that in which, his age and his genius having both come to maturity, he was completely master of his medium. Compare this great, almost unknown, portrait with the famed 'Innocent X.' of Velazquez - the colour is the same - a wonderful combination of reds and whites - the technique is alike, and further, the spirit of the two pictures is the same. No one can remain in doubt of the influence that Greco exercised over his great successor. The question forces itself upon us - Can Velazquez have seen this portrait?"

"We refer with pleasure and with steadfastness to the case of El Greco, because the glory of this painter is closely tied to the evolution of our new perceptions on art"

"At that time, there came from Italy a painter called Dominico Greco.. .He settled in the famous and ancient city of Toledo, introducing such an extravagant style that to this day nothing has been seen to equal it; attempting to discuss it would cause confusion in the soundest minds; his works being so dissimilar that they do not seem to be by the same hand. He came to this city with a high reputation, so much so that he gave it to be understood that there was nothing superior to his works. In truth, he achieved some works which are worthy of estimation, and which can be put amongst those of famous painters. His nature was extravagant like his painting. It is not known with certainty what he did with his works, as he used to say no price was high enough for them, and so he gave them in pledge to their owners who willingly advanced him what he asked for. He earned many ducats, but spent them in too great pomp and display in his house, to the extent of keeping paid musicians to entertain him at meal-times. His works were many, but the only wealth he left were two hundred unfinished paintings; he reached an advanced age, always enjoying great fame. He was a famous architect, and very eloquent in his speeches. He had few disciples, as none cared to follow his capricious and extravagant style, which was only suitable for himself."

"A 'Gloria' by Domineko Greco, among the best which he painted, although still with great want of harmony in the colours, though here there is some excuse, for to paint the Glory of God it is not easy to find suitable colours, for the most vivid cannot attain to the signification of the strength of that supreme Majesty, neither seen nor heard of men."

"Mancini reports that El Greco said to the Pope [in Rome] that if the whole work [Michelangelo's Last Judgment in the Sistine Chapel] was demolished, he himself would do it in a decent manner and with seemliness."

"Out of the great esteem he was held in he was called the Greek (il Greco)."

"one of the greatest men in both this [Spanish] kingdom and outside it."

"Who will believe me if I say that Dominico Greco set his hand to his canvases many and many times over, that he worked upon them again and again.. ..but to leave the colours crude and unblent in great blots, as a boastful display of his dexterity. I call this working in order to accomplish little."

"On 7th April, 1614, died Domenico Greco. He left no will. He received the sacraments, was buried in Santo Domingo el Antiguo; and gave candles."

"Crete gave him life and the painter's craft, Toledo a better homeland, where through Death he began to achieve eternal life."