Georges Braque Quotes
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I considered that the painter's personality should be kept out of things, and therefore pictures should be anonymous. It was I who decided that pictures should not be signed, and for a time Picasso did the same.
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Painting is a nail to which I fasten my ideas.
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Limited means often constitute the charm and force of primitive painting. Extension, on the contrary, leads the arts to decadence.
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When objects shattered into fragments appeared in my painting about 1909, this for me was a way of getting closest to the object... Fragmentation helped me to establish space and movement in space.
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The painter thinks in terms of form and color. The goal is not to be concerned with the reconstitution of an anecdotal fact, but with constitution of a pictorial fact.
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The painting is finished when the idea has disappeared.
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Art is meant to disturb. Science reassures.
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Evidence exhausts the truth.
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I thought that from the moment someone else could do the same as myself, there was no difference between the pictures and they should not be signed. Afterwards I realized it was not so and began to sign my pictures again. Picasso had begun again anyhow.
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Critics should help people see for themselves; they should never try to define things, or impose their own explanations, though I admit that if... a critic's explanations serve to increase the general obscurity, that's all to the good.
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I have made a great discovery. I no longer believe in anything.
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I realized that one cannot reveal oneself without mannerism, without some evident trace of one's personality. But all the same one should not go too far in that direction.
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Work to perfect the mind. There is no certitude but in what the mind conceives.
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Scientific perspective forces the objects in a picture to disappear away from the beholder instead of bringing them within his reach as painting should.
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I am interposing overlaid planes a short way off... To make it understood that things are in front of each other instead of being scattered in space.
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To explain away the mystery of a great painting - if such a feat were possible - would do irreparable harm... If there is no mystery, then there is no poetry, the quality I value above all else in art.
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One has to arrive at a specific temperature, at which the objects become malleable.
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What greatly attracted me - and it was the main line of advance of Cubism - was how to give material expression to this new space of which I had an inkling. So I began to paint chiefly still lifes, because in nature there is a tactile, I would almost say a manual space... that was the earliest Cubist painting - the quest for space.
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Nature is a mere pretext for a decorative composition, plus sentiment. It suggests emotion, and I translate that emotion into art.
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I do not believe in objects. I believe only in their relationships.
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Whatever is valuable in painting is precisely what one is incapable of talking about.
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The space between the dish and the pitcher, that I paint also.
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Art is a wound turned into light.
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Poetry' is what distinguishes the cubist paintings Picasso and I arrived at intuitively from the lifeless sort of painting those who followed us tried, with such unfortunate results, to arrive at theoretically.
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If I have called Cubism a new order, it is without any revolutionary ideas or any reactionary ideas... One cannot escape from one's own epoch, however revolutionary one may be.
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I am much more interested in achieving unison with nature than in copying it.
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The function of Art is to disturb. Science reassures.
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To define a thing is to substitute the definition for the thing itself.
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It is the unforeseeable that creates the event.
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Thanks to the oval I have discovered the meaning of the horizontal and the vertical.
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