Giorgio Morandi Quotes

Perhaps I will have photographs taken of the still life with the round table and of the other with oranges and the [piece of] furniture behind.

Though aware of just how hard it will be to attain the distant goal I have glimpsed, I am sustained by the certainty that the path I am following is the right one. I repudiate nothing in my past.. .Consciousness has always guided me in my work and I am comforted by the knowledge that in all my endeavors, even in the moments of greatest uncertainty, my personality has always managed to come through.

This enabled me to understand the need to abandon myself totally to my instinct, trusting my own energy and forgetting any preconceived style while I work.

When most Italian artists of my own generation were afraid to be too 'modern,' too 'international' in their style, not 'national' or 'imperial' enough, I was still left in peace, perhaps because I demanded so little recognition. My privacy was thus my protection and, in the eyes of the Grand Inquisitors of Italian art, I remained a provincial professor of etching, at the Fine Art Academy in Bologna.

As regards my paintings of similar compositions I cannot give you any indication [about possible 'variants' in his works] because I'm afraid I've never made a note of where my paintings have ended up.. .I am always at work and work is my sole passion. And unfortunately I've become aware that I must always start from the beginning, and ought to burn what I've done in the past.

Among the painters of our day who have helped me develop are Carlo Carra [famous Futurist painter] and Ardengo Soffici; their work and writings have in my opinion been a beneficial influence on where Italian art is going today.

He [ Jackson Pollock ] just jumps in before he knows how to swim. [when Morandi sees paintings of Pollock for the first time]

..it is only in this way, or almost, that a portrait can be painted today [because] all the things punt into the picture have the same importance, they are in the right place.

..my own paintings of that period (1916 – 1919) remain pure still-life compositions and never suggest any metaphysical, surrealist, psychological, or literary considerations at all [reacting on similarities with the art of Carrà, and de Chirico, suggested by the interviewer]. My milliners' dummies, for instance, are objects like others and have not been selected to suggest symbolic representations of human beings of legendary or mythological characters. The only titles that I chose for these paintings were conventional, like 'Still Life, Flowers or Landscape', without any implications of strangeness of an unreal world [as in Surrealism or in 'Pittura Metafisica' of De Chirico].

Let us hope that these dark days [Summer in 1943 when Morandi took refuge from the war in Grizanna where he remained on his own for a year] will be followed by better ones. I work, but these continual worries are extremely tiring, believe me. I should like to see you again..

I am essentially a painter of the kind of still-life composition that communicates a sense of tranquility and privacy, moods which I have always valued above all.

My only source of instruction has always been the study of works, whether of the past or contemporary artists, which can offer us an answer to our questions if we formulate these properly.. .I would never be of much use as a guide or instructor, nor have I ever wanted to be one, even when I have been asked to undertake the job [still, Morandi was art professor - etchings - at the Art Academy of Bologna for many years]. [the text of this interview was later examined by Morandi and approved in the English translation]

..before I die I should like to bring two paintings to completion. What matters is to touch the limit, the essence of things.

I have been fortunate enough to lead.. ..an uneventful life. Only on very rare occasions have I ever left Bologna, my native city, and the surrounding province of Emilia. Only twice, for instance, have I been abroad.. .Besides, I speak only my native language, as you see, and read only Italian periodicals.. .When I was in my early twenties, my highest ambition was to go abroad study art in Paris.. ..the material difficulties involved were too great, and I was obliged to remain in Italy. Later I had too many responsibilities, with my teaching and my family [his sisters he lived with] and never managed to go abroad.

Among the ancient painters, the Tuscan's are the ones that interest me more: above all Giotto and Massacio [in early Renaissance]. Of the modern painters I think that Corot, Courbet, Fattori, and Cezanne are the most legitimate heirs to the glorious Italian tradition.