Cezanne Quotes

Any critic of Cezanne who described him as a painter of country scenes would be moving in the wrong direction. You must begin with the question of style . . .

In writing songs, I've learned as much from Cezanne as I have from Woody Guthrie.

My best songs were written very quickly. Just about as much time as it takes to write it down is about as long as it takes to write it...In writing songs I've learned as much from Cezanne as I have from Woody Guthrie...It's not me, it's the songs. I'm just the postman, I deliver the songs...I consider myself a poet first and a musician second. I live like a poet and I'll die like a poet.

Fortunately I had a great intern who did a lot of the research on Andy's prices, which of course are phenomenal, but getting them straight - you know, he's reached this $100million plateau that only a handful of other artists have reached, which puts him in the company of Cezanne, Klimt, Picasso, and such.

Painting is a visceral experience, one loaded with subtle information. Only Cezanne could get away with a system.

There is no such thing as starting where Cezanne left off. You have to start where he started... at the beginning.

If Picasso drips, I drip... For a long while I was with Cezanne, and now I am with Picasso.

Cezanne said, 'I love to paint people who have grown old naturally in the country.' And I say I love to paint people who have been torn to shreds by the rat race in New York.

Cezanne is the Christopher Columbus of a new continent of form.

What interests me is to paint the kind of antisensitivity that impregnates modern civilization. I think art since Cezanne has become extremely romantic and unrealistic, feeding on art. It is Utopian. It has less and less to do with the world. It looks inward - neo-Zen and all that. Pop Art looks out into the world. It doesn't look like a painting of something, it looks like the thing itself.

Cezanne was fated, as his passion was immense, to be immensely neglected, immensely misunderstood, and now, I think, immensely overrated.

The idea of selling a Cezanne to buy a Morisot seems explosively contentious.

The people who do better and better work are people who are never satisfied. Cezanne would say, 'I think I've accomplished something,' but then he would immediately add, 'But it's not enough.

Indeed, the idea that doubt can be heroic, if it is locked into a structure as grand as that of the paintings of Cezanne's old age, is one of the keys to our century. A touchstone of modernity itself.

What I so like about Poussin and Cezanne is their sense of organization. Ilike the way in which they develop space and shape in architecturalcontinuity - the rhythm across their paintings. When I paint a landscape, Iget the greatest pleasure out of composing it. As I paint, I try to work outa visual sonata form or a fugue, with realistic images.

The non-geometric biomorphic forms of Arp and Miro and Moore are definitely in the ascendant. The formal tradition of Gauguin, Fauvism and Expressionism will probably dominate for some time to come the tradition of Cezanne and Cubism.

It is not possible to overstate the influence of Paul Cezanne on twentieth-century art. He's the modern Giotto, someone who shattered one kind of picture-making and invented a new one that the world followed.

One of Cezanne's unfinished paintings... appears to be a completed work even though only a few strokes of paint have been put down. My methods are similar... I expect each of my paintings to appear whole in every stage.

Cezanne is one of the most liberal artists I have ever seen... he grants that everyone may be as honest and as true to nature from their convictions; he doesn't believe that everyone should see alike.

Cezanne, you see, is a sort of God of painting.

Where Cezanne captured and intensified shards of the eternal (every pear far more sharply defined than it could be in life), Monet portrayed the changeability and flux of every moment. 'The Water Lilies' give you a jittery, amorphous sense of a world seen at the speed of light.

The things I felt... about certain painters of the past that... inspired me, like Cezanne and Manet... that complete losing of oneself in the work to such an extent that the work itself... felt as if a living organism was posited there on the canvas, on this surface... That's truly... the act of creation.

Every so often, a painter has to destroy painting. Cezanne did it, Picasso did it with Cubism. Then Pollock did it. He busted our idea of a picture all to hell. Then there could be new paintings again.

If you give a child something very complex to paint, such as a bouquet of flowers or a natural landscape, if he is very good, eventually he will get back - like Cezanne - to the essential forms of what he sees.

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.

Most artists, or at least most of the ones I know, deny having a philosophical outlook that they try to translate into their works. Some had thought of the work of Cezanne and others as being a 'painted epistemology.' But Cezanne himself denied this and Daniel-Henri Kahnwiler, the art critic and art dealer, insisted that none of the many painters he had known had a philosophical culture.

To me Art's subject is the human clay, / And landscape but a background to a torso; / All Cezanne's apples I would give away / For one small Goya or a Daumier.

Newton's apple and Cezanne's apple are discoveries more closely related than they seem.

The question before me, now that I am old, is not how to be dead, which I know from enough practice, but how to be alive, as these worn hills still tell, and some paintings of Paul Cezanne, and this mere singing wren, who thinks he's alive forever, this instant, and may be.

The nourishment of Cezanne's awkward apples is in the tenderness and alertness they awaken inside us.

The paradox in the evolution of French painting from Courbet to Cezanne is how it was brought to the verge of abstraction in and by its very effort to transcribe visual appearance with ever greater fidelity.