A Quote by Henry Moore
Cezanne had an enormous influence on everyone in that period; there was a change in attitudes to art. People found him disturbing because they didn't like their existing ideas being challenged and overturned. Cezanne was probably the key figure in my lifetime.
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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.
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.
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.
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.
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.
My work as a painter has always been tied to Modernism. I read everything I could find related to art, from Paul Cézanne through the 1950s.
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 . . .
I was shown a picture by Cézanne of a blank wall of a house, which he had made instinct with the most delicate lights and colours.
Cezanne, you see, is a sort of God of painting.
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.
Cezanne is the Christopher Columbus of a new continent of form.
You can't teach colour from Cézanne, you can only teach it from something like this bubble-gum wrapper.
In writing songs, I've learned as much from Cezanne as I have from Woody Guthrie.
I knew that Vaclav Havel didn't want to look into people's eyes, because he said that, when he was being interrogated during the communist period and had been taken to jail, that, if you look directly into somebody's eyes, they can persuade you. And so you can see that so clearly in this interview, where he's looking down.And I kept saying to him as we kept coming - came over here: " You have to look up."And I clearly had no influence on him.
We have had a good working relationship. He has got a tough job. We had different ideas sometimes and we got on pretty well. I have challenged him and he has challenged me. His form has been up and down and that can be tough. I suppose we've been lucky. Sourav and I complement each other. We are two different personalities. He is softer than me. I probably spoke my mind in the change rooms in a rougher way than him. Sourav and I formed an odd couple but it seems to have worked.
At one point cinema and photography weren't treated as art. Now it's crazy to think they're not. The key question is "What is art today?" The most important artists of the last 20 years are Steve Jobs and Jonathan Ive, because the influence they have had is incredible and they've changed the world. That is art.
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