The painting is finished when the idea has disappeared.
Painting is a nail to which I fasten my ideas.
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.
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.
The whole Renaissance tradition is antipethic to me. The hard-and-fast rules of perspective which it succeeded in imposing on art were a ghastly mistake which it has taken four centuries to redress; Cezanne and after him Picasso and myself can take a lot of credit for this. Scientific perspective forces the objects in a picture to disappear away from the beholder instead of bringing them within his reach as painting should.
I do not think my painting has ever been revolutionary. It was not directed against any kind of painting. I have never wanted to prove that I was right and someone else wrong.
Writing is not describing, painting is not depicting. Verisimilitude is merely an illusion.
Limited means often constitute the charm and force of primitive painting. Extension, on the contrary, leads the arts to decadence.
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.
A painting without something disturbing in it – what's that?.
Whatever is valuable in painting is precisely what one is incapable of talking about.
Scientific perspective forces the objects in a picture to disappear away from the beholder instead of bringing them within his reach as painting should.
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.
Poetry is to a painting what life is to man.
In a painting, what counts is the unexpected.
Take the birds which you'll have noticed in so many of my recent paintings. I never thought them up, they just materialized of their own accord; they were born on the canvas... it is absurd to read any sort of symbolic significance into them.
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