A Quote by Paul Cezanne
Painting from nature is not copying the object; it is realizing one's sensations.
Related Quotes
You are not copying nature, but responding to nature in full awareness, to the way nature expresses itself in that object.
Out in the sun, some painters are lined up. The first is copying nature, the second is copying the first, the third is copying the second... You see the sequence.
Painting is an illusion, a piece of magic, so what you see is not what you see. I don't know what a painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
By the artist's seizing any one object from nature, that object no longer is part of nature. One can go so far as to say that theartist creates the object in that very moment by emphasizing its significant, characteristic, and interesting aspects or, rather, by adding the higher values.
All knowledge is oriented toward some object and is influenced in its approach by the nature of the object with which it is pre-occupied. But the mode of approach to the object to be known is dependent upon the nature of the knower.
There are three types of biomimicry - one is copying form and shape, another is copying a process, like photosynthesis in a leaf, and the third is mimicking at an ecosystem's level, like building a nature-inspired city.
Art does not lie in copying nature.- Nature furnishes the material by means of which is to express a beauty still unexpressed in nature.-The artist beholds in nature more than she herself is conscious of.
I don't know what a painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere.
Now Art, used collectively for painting, sculpture, architecture and music, is the mediatress between, and reconciler of, nature and man. It is, therefore, the power of humanizing nature, of infusing the thoughts and passions of man into everything which is the object of his contemplation.
As you are aware, no perceptions obtained by the senses are merely sensations impressed on our nervous systems. A peculiar intellectual activity is required to pass from a nervous sensation to the conception of an external object, which the sensation has aroused. The sensations of our nerves of sense are mere symbols indicating certain external objects, and it is usually only after considerable practice that we acquire the power of drawing correct conclusions from our sensations respecting the corresponding objects.
Lots of people look for happiness through sensations, whether it's through sex, the taste of food, the sound of music, the sensations of movies and plays, creating a certain environment in their home, and so on. Looking for happiness through sensations keeps you constantly searching for the next "fix" and for more varied sensations. Sensations become addictions, and nothing is ever enough.
An object painted upside down is suitable for painting because it is unsuitable as an object.
I don't mean to give performance art a bad name or anything; I think there are people that are legit. I think I just got frustrated painting - I love painting; I actually tried to be an artist, but it's sensitive, and then you have an object. And what do you do with that object? And then repeat and repeat, blah blah blah.
The true essence of Chinese culture is sophistication, refinement, the spirit of poetry. The spirit of ink painting and calligraphy lives on forever. Calligraphy is more important than painting. Chinese always consider nature. Man is a very small part of nature. That's why in Chinese painting you see huge mountains and man very small, very humble before nature. You must be harmonious and one with nature. You don't fight it. And then there's a bit of a poetry. Of course, it's very complicated, but also very simple.
Science no longer is in the position of observer of nature, but rather recognizes itself as part of the interplay between man and nature. The scientific method ... changes and transforms its object: the procedure can no longer keep its distance from the object.
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