Alberto Giacometti Quotes
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When you look at art made by other people, you see what you need to see in it.
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If I see everything in gray, and in gray all the colors which I experience and which I would like to reproduce, then why should I use any other color?
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If only someone else could paint what I see, it would be marvellous, because then I wouldnt have to paint at all.
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Only reality interests me now and I know I could spend the rest of my life in copying a chair.
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I don't know if I work in order to do something, or in order to know why I can't do what I want to do.
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The head is what matters. The rest of the body plays the part of antennae making life possible for people and life itself is inside the skull.
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The form is always the measure of the obsession.
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All the art of the past rises up before me, the art of all ages and all civilizations, everything becomes simultaneous, as if space had replaced time. Memories of works of art blend with affective memories, with my work, with my whole life.
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What I am looking for is not happiness. I work solely because it is impossible for me to do anything else.
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The one thing that fills me with enthusiasm is to try, despite everything, to get nearer to those visions that seem so hard to express.
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Failure is my best friend. If I succeeded, it would be like dying. Maybe worse.
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It is impossible to do a thing the way I see it because the closer I get the more differently I see.
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I paint and sculpt to get a grip on reality... to protect myself.
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The human face is as strange to me as a countenance, which, the more one looks at it, the more it closes itself off and escapes by the steps of unknown stairways.
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That's the terrible thing: the more one works on a picture, the more impossible it becomes to finish it.
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The older I grow, the more I find myself alone.
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In the past I have never thought about loneliness when working, and I don't think about it now. Yet there must be a reason for the fact that so many people talk about it.
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When I make my drawings... the path traced by my pencil on the sheet of paper is, to some extent, analogous to the gesture of a man groping his way in the darkness.
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I see something, find it marvelous, want to try and do it. Whether it fails or whether it comes off in the end becomes secondary. . . . So long as I've learned something about why.
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I've been fifty thousand times to the Louvre. I have copied everything in drawing, trying to understand.
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When I see a head from a great distance, it ceases to be a sphere and becomes an extreme confusion falling down into the abyss.
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The object of art is not to reproduce reality, but to create a reality of the same intensity.
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When one lives with problems of importance, the prostitute is ideal. You pay, and whether or not you fail is of no importance. She doesn't care.
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The more you fail, the more you succeed. It is only when everything is lost and - instead of giving up - you go on, that you experience the momentary prospect of some slight progress. Suddenly you have the feeling - be it an illusion or not - that something new has opened up.
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Once the object has been constructed, I have a tendency to rediscover in it, transformed and displaced, images, impressions, facts which have deeply moved me (often without my knowing it).
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If we master a bit of drawing, everything else is possible.
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Whores are the most honest girls. They present the bill right away.
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In a fire, between a Rembrandt and a cat, I would save the cat.
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The more I work, the more I see things differently, that is, everything gains in grandeur every day, becomes more and more unknown, more and more beautiful. The closer I come, the grander it is, the more remote it is.
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It was always disappointing to see that what I could really master in terms of form boiled down to so little.
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