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Pablo Picasso Quotes


Pablo Picasso was a painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright. Some of his most notable works are the Les Demoiselles d'Avignon (1907), and Guernica (1937). Here is a list of quotes by the artists, Pablo Picasso. Enjoy...

Picasso ~ 1904

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ā—‹ā—‹ā—‹ā—‹ā—‹ The purpose of art is 
washing the dust of daily life off our souls ā—‹ā—‹ā—‹ā—‹ā—‹

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ā—‹ā—‹ā—‹ā—‹ā—‹ I am always doing that which I cannot do, 
in order that I may learn how to do it ā—‹ā—‹ā—‹ā—‹ā—‹

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ā—‹ā—‹ā—‹ā—‹ā—‹ Action is the foundational key 
to all success ā—‹ā—‹ā—‹ā—‹ā—‹

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ā—‹ā—‹ā—‹ā—‹ā—‹ All children are artists. 
The problem is how to remain an artist once he grows up ā—‹ā—‹ā—‹ā—‹ā—‹ 

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ā—‹ā—‹ā—‹ā—‹ā—‹ Everything you can imagine is real ā—‹ā—‹ā—‹ā—‹ā—‹

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Blue Nude, c.1902
by Pablo Picasso
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ā—‹ā—‹ā—‹ā—‹ā—‹ Good artists copy, 
great artists steal ā—‹ā—‹ā—‹ā—‹ā—‹

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ā—‹ā—‹ā—‹ā—‹ā—‹Painting is just another way of keeping a diary ā—‹ā—‹ā—‹ā—‹ā—‹

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ā—‹ā—‹ā—‹ā—‹ā—‹ Some painters transform the sun into a yellow spot, 
others transform a yellow spot into the sun ā—‹ā—‹ā—‹ā—‹ā—‹

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ā—‹ā—‹ā—‹ā—‹ā—‹ Love is the greatest 
refreshment in life ā—‹ā—‹ā—‹ā—‹ā—‹

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ā—‹ā—‹ā—‹ā—‹ā—‹ Youth has no age ā—‹ā—‹ā—‹ā—‹ā—‹

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Don Quixote

by Pablo Picasso 

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ā—‹ā—‹ā—‹ā—‹ā—‹ It takes a long time to become young ā—‹ā—‹ā—‹ā—‹ā—‹

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ā—‹ā—‹ā—‹ā—‹ā—‹ Give me a museum and I'll fill it ā—‹ā—‹ā—‹ā—‹ā—‹

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ā—‹ā—‹ā—‹ā—‹ā—‹ Everything you can imagine is real ā—‹ā—‹ā—‹ā—‹ā—‹

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 ā—‹ā—‹ā—‹ā—‹ā—‹ Among the several sins that I have been accused of committing, none is more false than the one that I have, as the principal objective in my work, the spirit of research. When I paint my object is to show what I have found and not what I am looking for. In art intentions are not sufficient and, as we say in Spanish, love must be proved by facts and not by reasons. ā—‹ā—‹ā—‹ā—‹ā—‹

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 ā—‹ā—‹ā—‹ā—‹ā—‹ When I hear people speak of the evolution of an artist, it seems to me that they are considering him standing between two mirrors that face each other and reproduce his image an infinite number of times, and that they contemplate the successive images of one mirror as his past, and the images of the other mirror as his future, while his real image is taken as his present. They do not consider that they all are the same images in different planes. ā—‹ā—‹ā—‹ā—‹ā—‹
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Pablo Picasso (Old Guitarist) 
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ā—‹ā—‹ā—‹ā—‹ā—‹ Variation does not mean evolution. If an artist varies his mode of expression this only means that he has changed his manner of thinking, and in changing, it might be for the better or it might be for the worse. ā—‹ā—‹ā—‹ā—‹ā—‹

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 ā—‹ā—‹ā—‹ā—‹ā—‹ The idea of research has often made painting go astray, and made the artist lose himself in mental lucubrations. Perhaps this has been the principal fault of modern art. The spirit of research has poisoned those who have not fully understood all the positive and conclusive elements in modern art and has made them attempt to paint the invisible and, therefore, the unpaintable. ā—‹ā—‹ā—‹ā—‹ā—‹

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 ā—‹ā—‹ā—‹ā—‹ā—‹ And from the point of view of art there are no concrete or abstract forms, but only forms which are more or less convincing lies. That those lies are necessary to our mental selves is beyond any doubt, as it is through them that we form our aesthetic point of view of life. ā—‹ā—‹ā—‹ā—‹ā—‹

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 ā—‹ā—‹ā—‹ā—‹ā—‹ I also often hear the word 'evolution'. Repeatedly I am asked to explain how my painting evolved. To me there is no past or future in my art. If a work of art cannot live always in the present it must not be considered at all. The art of the Greeks, of the Egyptians, of the great painters who lived in other times, is not an art of the past; perhaps it is more alive today than it ever was. Art does not evolve by itself, the ideas of people change and with them their mode of expression. ā—‹ā—‹ā—‹ā—‹ā—‹

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 ā—‹ā—‹ā—‹ā—‹ā—‹ It isnā€™t up to the painter to define the symbols. Otherwise it would be better if he wrote them out in so many words! The public who look at the picture must interpret the symbols as they understand them. ā—‹ā—‹ā—‹ā—‹ā—‹

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Picasso: 200 Masterworks 
from 1898 to 1972
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ā—‹ā—‹ā—‹ā—‹ā—‹ In the old days pictures went forward toward completion by stages. Every day brought something new. A picture used to be a sum of additions. In my case a picture is a sum of destructions. I do a picture ā€” then I destroy it. In the end though, nothing is lost: the red I took away from one place turns up somewhere else ā—‹ā—‹ā—‹ā—‹ā—‹

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ā—‹ā—‹ā—‹ā—‹ā—‹ I would like to manage to prevent people from ever seeing how a picture of mine has been done. What can it possibly matter? What I want is that the only thing emanating from my pictures should be emotion. ā—‹ā—‹ā—‹ā—‹ā—‹

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ā—‹ā—‹ā—‹ā—‹ā—‹ It would be very curious to record by means of photographs, not the stage of the picture, but its metamorphoses. Perhaps one would perceive the path taken by the mind in order to put its dreams into a concrete form. But what is really very curious is to observe that fundamentally the picture does not change, that despite appearances the initial vision remains almost intact ā—‹ā—‹ā—‹ā—‹ā—‹

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ā—‹ā—‹ā—‹ā—‹ā—‹ Abstract art is only painting. And what's so dramatic about that? There is no abstract art. One must always begin with something. Afterwards one can remove all semblance of reality; there is no longer any danger as the idea of the object has left an indelible imprint. It is the object which aroused the artist, stimulated his ideas and set of his emotions. These ideas and emotions will be imprisoned in his work for good.. .Whether he wants it or not, man is the instrument of nature; she imposes on him character and appearance. In my paintings of Dinard, as in my paintings of Purville, I have given expression to more or less the same vision.. .. You cannot go against nature. She is stronger than the strongest of men. We can permit ourselves some liberties, but in details only ā—‹ā—‹ā—‹ā—‹ā—‹

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ā—‹ā—‹ā—‹ā—‹ā—‹ Neither is there figurative and non-figurative art. All things appear to us in the shape of forms. Even in metaphysics ideas are expressed by forms, well then think how absurd it would be to think of painting without the imagery of forms. A figure, an object, a circle, are forms; they affects us more or less intensely. ā—‹ā—‹ā—‹ā—‹ā—‹

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Pablo Picasso: A Retrospective
The Museum of Modern Art, New York
The historic 1980 MoMa exhibition.
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ā—‹ā—‹ā—‹ā—‹ā—‹ It is not what the artist does that counts. But what he is. CĆ©zanne would never have interested me if he had lived and thought like Jaques-Emile Blanche, even if the apple he had painted had been ten times more beautiful. What interests us is the anxiety of CĆ©zanne, the teaching of CĆ©zanne, the anguish of Van Gogh, in short the inner drama of the man. The rest is false. ā—‹ā—‹ā—‹ā—‹ā—‹

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ā—‹ā—‹ā—‹ā—‹ā—‹ The painter goes through states of fullness and evacuation. That is the whole secret of art. I go for a walk in the forest of Fontainebleau. I get 'green' indigestion. I must get rid of this sensation into a picture. Green rules it. A painter paints to unload himself of feelings and visions. People seize on painting to cover up their nakedness. They get what they can wherever they can. In the end I don't believe they get anything at all. They've simply cut a coat to the measure of their own ignorance. They make everything, from God to a picture, in their own image. That is why the picture-hook is the ruination of a painting. ā—‹ā—‹ā—‹ā—‹ā—‹

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ā—‹ā—‹ā—‹ā—‹ā—‹ The artist is a receptacle for emotions derived from anywhere: from the sky, from the earth, from a piece of paper, from a passing figure, from a spiderā€™s web. This is a spiderā€™s web. This is why one must not make a distinction between things. For them there are no aristocratic quarterings. One must take things where one finds them. ā—‹ā—‹ā—‹ā—‹ā—‹

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ā—‹ā—‹ā—‹ā—‹ā—‹ It's like God's. God is really only another artist. He invented the giraffe, the elephant, and the cat. He has no real style. He just goes on trying other things. ā—‹ā—‹ā—‹ā—‹ā—‹

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ā—‹ā—‹ā—‹ā—‹ā—‹ Matisse makes a drawing, then he makes a copy of it. He recopies it five times, ten times, always clarifying the line. He's convinced that the last, the most stripped down, is the best, the purest, the definitive one; and in fact, most of the time, it was the first. In drawing, nothing is better than the first attempt. ā—‹ā—‹ā—‹ā—‹ā—‹

When Pigasso Met Mootisse
by Nina Laden
"When Pigasso met Mootisse, what begins as a neighborly overture escalates into a mess.
Before you can say paint-by-numbers, the two artists become fierce rivals,
calling each other names and ultimately building a fence between them..."
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ā–ŗ Related Content: 

 Art Quotes ā–ŗ http://quotebuff.blogspot.com/2016/01/art-quotes.html

 Love Quotes ā–ŗ http://quotebuff.blogspot.com/2015/02/love-quotes.html
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