If we study Japanese art, we see a man who is undoubtedly wise, philosophic and intelligent, who spends his time doing what? He studies a single blade of grass.
What has changed is that my life then was less difficult and my future seemingly less gloomy, but as far as my inner self, my way of looking at things and of thinking is concerned, that has not changed. But if there has indeed been a change, then it is that I think, believe and love more seriously now what I thought, believed and loved even then.
I assure you that there's a lot involved in compositions with figures. ... It's like weaving... you must control and keep an eye on several things at once.
I want to paint men and women with that something of the external which the halo used to symbolize, and which we now seek to give by the actual radiance and vibrancy of our colorings.
It is good to love many things
Painters understand nature and love it, and teach us to see.
I am always in the hope to express the love of two lovers by a marriage of two complementary colors - colors which marry each other... complement each other as a man and a woman do.
I feel the need of relations and friendship, of affection, of friendly intercourse.... I cannot miss these things without feeling, as does any other intelligent man, a void and a deep need.
One must learn to read, just as one must learn to see and learn to live.
If one keeps loving faithfully what is really worth loving, and does not waste one's love on insignificant and unworthy and meaningless things, one will get more light by and by and grow stronger.
I am painting with the same enthusiasm as a Marseillaise eats bouillabaisse ... I am painting big sunflowers.
I will not live without love.
The worse I get along with people the more I learn to have faith in Nature and concentrate on her.
Gauguin says that when sailors have to move a heavy load or raise an anchor, they all sing together to keep them up and give them vim. That's just what artists lack!
l can do very well without God both in my life and in my painting, but l cannot, ill as I am, do without something which is greater than l, which is my life — the power to create.
For instead of trying to reproduce exactly what I see before me, I make more arbitrary use of colour to express myself more forcefully.
Modern reality has got such a hold on us that... when we attempt to reconstruct the ancient days in our thoughts...the minor events of our lives tear us away from our meditations, and... thrust us back into our personal [problems]
One can never study nature too much and too hard
It always strikes me, and it is very peculiar, that, whenever we see the image of indescribable and unutterable desolation—of loneliness, poverty, and misery, the end and extreme of things—the thought of God comes into one's mind.
If I were to think of and dwell on disastrous possibilities, I could do nothing. I throw myself headlong into my work, and come up again with my studies.
But what's your ultimate goal, you'll say. That goal will become clearer, will take shape slowly and surely, as the croquis becomes a sketch and the sketch a painting, as one works more seriously, as one digs deeper into the originally vague idea, the first fugitive, passing thought, unless it becomes firm.
To the one party, woman is always heresy and diabolical. To me, the opposite.
You can feel the stars and the infinity of the sky since life, in spite of everything, is like a dream.
I believe it is one's duty to paint the rich and magnificent aspects of nature. We need gaiety and happiness, hope and love.
I feel a certain calm. There is safety in the midst of danger. What would life be if we had no courage to attempt anything?
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