Giorgio Morandi Quotes

I have received your critical essay [of C. L. Ragghianti who visited Morandi's studio frequently and watched him painting] for the catalogue of the Mattioli collection. I must confess that I am not a little disturbed by what you say. I shall say no more. My own desire is to continue to live with a little peace, which is the only thing that still allows me to work. I am sure I am worth much less than what you say. Not out of modesty, believe me. I only wish it were as you say. If you could, please avoid the comparison with Picasso. Furthermore I must point out an error of fact where you say on p. 4 that 'for those who might not know, Morandi draws, tries out plans of his compositions, etc.., etc..' – and you have had the occasion to see the plans of objects on my table. This only serves to immediately recover my position when I reassemble a composition. Nothing more. Another thing.. ..[tracing the shape of his feet on the floor].. ..it's to mark a reference for re-establishing the point of view. Think about this, then. I am grateful for your concern, but believe me when I say it leaves me ill at ease.

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..

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

...[enabled] to touch the core, the essence of things. Even in as simple a subject, a great painter can achieve a majesty of vision and an intensity of feeling to which we immediately respond. [1937, referring to a still life by Cézanne and a river-sight with sandbank by Monet ]

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.

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.

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.

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.

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.

Quote in Morandi's letter of 14 Oct. 1919 to the Futurist painter Carlo Carrà; as cited in Morandi 1894 – 1964, ed: M. C. Bandera & R. Miracco, Museo d’Arte Moderna di Bologna, 2008; p. 92

I am now working on a still life with a bottle and other objects spread out on a plane and it seems to be turning out well.

If you could see what these flowers are. [Morandi's remark, circa 1917 - to the writer Raimondi from Bologna, indicating flowers in the corner of a reproduction of a painting by w:El Greco – beneath the feet of angels and saints]). No modern painter has painted flowers like these. Perhaps only Renoir

..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.