Paul Cézanne Quotes

You wretch! [Cezanne is portraying the art dealer Vollard who changed his pose during the painter session] You've spoiled the pose. Do I have to tell you again you must sit like an apple? Does an apple move?

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..

Make others feel the same way about it. Without their realizing it! That's the meaning of art.. .Yes, what I'm aiming for is the logical development of what we see and feel when we observe nature; only then I'm concerned with the process, processes being for us no more than simple ways of getting the public to feel what we ourselves are feeling, and of making our point. The great artists we admire have done no more.. .Shall we have lunch?

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..

Yes, yes, a formula that's a straitjacket.. ..not for me! All the same, he tries in vain, does Jean-Dominique [Ingres], to wring your heart with his glossy finish! I said this to Vollard, to shock him, he is very powerful! Nevertheless he [ Jean-Dominique Ingres, French classicist painter] is a damned good man.. .The most modern of the moderns. Do you know why I take my hat off to him? Because he forced his fantastic draughtsmanship down the throats of the idiots who now claim to understand it. But here there are only two: Delacroix and Courbet. The rest are scoundrels.

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

You positively paint like a madman.

Art has a harmony which parallels that of nature. The people who tell you that the artist is always inferior to nature are idiots! He is parallel to it. Unless, of course, he deliberately intervenes. His whole aim must be silence. He must silence all the voices of prejudice within him, he must forget.. .And then the entire landscape will engrave itself on the sensitive plate of his being.

He (the painter Manet) hits of the tone.. ..but his work lacks unity and temperament too. (ca. 1863)

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.

When I'am outlining the skin of a lovely peach with soft touches of paint, or a sad old apple, I catch a glimpse in the reflections they exchange of the same mild shadow of renunciation, the same love of the sun, the same recollection of the dew.. .Why do we divide up the world? Does this reflects our egoism?.. .The prism is our first step towards God, our seven beatitudes.

I had the company of monsieur Gibert. Such people see clearly, but they have the teacher's eye. As the train was taking us past Alexis' place a staggering subject for a picture came into view towards the east: St-Victoire [later Cezanne made series of paintings of Mont St. Victoire and the crags above Beaurecueil]. I said, 'What a splendid subject'; he replied, 'The lines are too symmetrical'. Referring to 'L'Assommoir' [a novel of Emile Zola ] about which, incidentally, he was the first person to speak to me, he said some very sound things, and praised it, but always from the point of view of technique.

You can't ask a man to talk sensibly about the art of painting if he simply doesn't know anything about it. But by God, how can he [ Zola, his childhood friend who characterized Cezanne in L'Oeuvre] dare to say that a painter is done because he has painted one bad picture? When a picture isn't realized, you pitch it in the fire and start another one.

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.

Colour is the place where our brain and the universe meet. That's why colour appears so entirely dramatic, to true painters. Look at Sainte-Victoire there [the hill, which Cézanne painted again and again] How it soars, how imperiously it thirsts for the sun!. .For a long time I was quite unable to paint Sainte-Victoire; I had no idea to go about it because, like others who just look at it, I imagined the shadow to be concave, whereas in fact it's convex, it disperses outward from the center. Instead of accumulating, it evaporates, becomes fluid, bluish, participating in the movements of the surrounding air. Just as over there to the right, on the Pilon du Roi, you can see the contrary effect, the brightness gently rocking to and fro, moist and shimmering. That's the sea.. ..That's one needs to depict. What one needs to know. That's the bath of experience, so to speak...