A Quote by Pablo Picasso
Titian, Rembrandt and Goya were the great painters. I am only a public clown.
Related Quotes
But when I am alone, I do not have the effrontery to consider myself an artist at all, not in the grand old meaning of the word: Giotto, Titian, Rembrandt, Goya were great painters. I am only a public clown-a mountebank. I have understood my time and have exploited the imbecility, the vanity, the greed of my contemporaries. It is a bitter confession, this confession of mine, more painful than it may seem. But at least and at last it does have the merit of being honest.
I don't think there's an illustrator who's as good as a Titian or a Rembrandt... but then, Rembrandt was a bit of an illustrator on the quiet, you know?
Many great works of art have only form, the sculpture of the thing. Color as used to signify realization by men like Titian and Rembrandt, gives greater life and tactile experience to the work.
I recommend that you should work actively... and study the artistic structures of Rubens, Rembrandt, Titian, Watteau, Poussin, and other painters, even Chardin, where he is an artist. Study very closely their dabbing manner of execution and try to copy a small piece of canvas, just one square inch.
When Michelangelo was introduced to Titian, he said... that Titian's colouring and his style much pleased him, but that it was a pity that in Venice men did not learn to draw well from the beginning, and that those painters did not pursue a better method in their studies.
I do strongly feel that among the greatest pieces of luck for high achievement is ordeal. Certain great artists can make out without it, Titian and others, but mostly you need ordeal. My idea is this: the artist is extremely lucky who is presented with the worst possible ordeal which will not actually kill him. At that point, he's in business: Beethoven's deafness, Goya's deafness, Milton's blindness, that kind of thing.
Art is not made only one way, art is a point of view? Rembrandt in our days would be Rembrandt again, because the work of the master is his self. But in order to be Rembrandt in ourdayshe would have used new ways that would give a new culture.
Only comedians can talk about death, life, God and Virgin Mary. If I was a tragic actor, I couldn't allow myself. But with this accent I can do it. I can talk with death in person because I am a clown. Yes. And I am proud to be a clown - very much.
I am astonished at the high prices paid for works by painters who are dead, prices none of them could expect when they were alive. It is a kind of tulip trade, in which living painters suffer but do not profit.
Painters were also attorneys, happy storytellers of anecdote, psychologists, botanists, zoologists, archaeologists, engineers, but there were no creative painters.
The names of great painters are like passing-bells: in the name of Velasquez you hear sounded the fall of Spain; .in the name of Titian, that of Venice; in the name of Leonardo, that of Milan; in the name of Raphael, that of Rome. And there is profound justice in this, for in proportion to the nobleness of the power is the guilt of its use for purposes vain or vile; and hitherto the greater the art, the more surely has it been used, and used solely, for the decoration of pride or the provoking of sensuality.
When Goya was 80 he drew an ancient man propped on two sticks, with a great mass of white hair and beard all over his face, and the inscription, "I am still learning."
I was always the class clown, although many teachers view the class clown as a trouble maker. But I always had good grades, so the only thing my parents were told was that while I was intelligent, I talked too much.
Being critical of art is a way of showing art respect. No sports writer would say, "Well the Yankees had a great season this year." No food critic would get a bad meal and say, "Oh, it was so lovely." It always strikes me as odd when people say, "Why do you write negatively about any art?" I think that everybody has mixed feelings about everything - even Goya. I mean, I look at Rembrandt sometimes and I hear a voice in my head go, "It's pretty brown."
I can't honestly say where the inspiration for my work came from. I think it came from reading. It came from texts, from Nietzsche, Schopenhauer, it came from, you know, Jean-Paul Sartre. These are the ideas that got me worked up and inspired. It wasn't so much the visual things that inspired me. Although, of course, there were plenty of painters in history that I admired all the way from Brueghel to Goya, to Picasso - because everything visual stimulates me.
Impressionism is only direct sensation. All great painters were less or more impressionists. It is mainly a question of instinct, and much simpler than [John Singer] Sargent thinks.
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