A Quote by Wassily Kandinsky
In their pursuit of the same supreme end, Matisse and Picasso stand side by side, Matisse representing color and Picasso form.
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Picasso and Matisse were the guys I wanted to get away from, and cubism is all still lifes. Their paintings are all closed drawings. And still life is a perfect form for that. By the mid-'50s, I sort of dropped the still life. The large picture was a way of getting around them, too. The abstract expressionists were also into the large form because it was a way of getting around Matisse and Picasso. Picasso can't paint big paintings. Matisse didn't bother after a certain point.
I think Picasso is more feminine than Matisse.
There's no concession to the fact that Dylan might be a more sophisticated singer than Whitney Houston, that he's probably the most sophisticated singer we've had in a generation. Nobody is identifying our popular singers like a Matisse or Picasso. Dylan's a Picasso - that exuberance, range, and assimilation of the whole history of music.
I love the work of Matisse and Picasso, but I don't have enough millions to own one. And I don't really believe in owning art, anyway.
You couldn't forget Pablo Picasso, Henri Matisse and Joan Miro either. And it had to be, you know, at least as good or better.
I wanted to paint in a folk-artist-y way. My heroes were Van Gogh, Gauguin, Matisse, and Rembrandt. I think Picasso is about as a modern as I got. But I incorporated things that they rejected as well as movements that happened later.
When you see the best of the best - when you see a Matisse or a Picasso - what interests you is the creativity and harmony.
The Matisse seemed to respond to the decreasing light by increasing its own wattage. Every object in the room was drained of color, but the Matisse stood firm in the de-escalating illumination, its beauty turning functionality inside out, making itself a more practical and useful presence than anything else in sight.
You cannot deny your origins: I love Kirchner more than Matisse, although Matisse was a greater artist. That isn't to do with nationality. It's a stronger feeling.
Matisse draws what I call the essence of the plants. He leaves a shape open. He'll do a leaf and not close it. Everybody used to say, oh, I got it all from Matisse, and I said, 'Not really.'
I can only paint in India. Europe belongs to Picasso, Matisse, Braque India belongs only to me.
Picasso's always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.
I said, I don't want to paint things like Picasso's women and Matisse's odalisques lying on couches with pillows. I don't want to paint people. I want to paint something I have never seen before. I don't want to make what I'm looking at. I want the fragments.
A German officer visited Picasso in his Paris studio during the Second World War. There he saw Guernica and, shocked at the modernist «chaos» of the painting, asked Picasso: «Did you do this?» Picasso calmly replied: «No, you did this!»
As an artist you have to find something that deeply interests you. It's not enough to make art that is about art, to look at Matisse and Picasso and say, how can I paint like them? You have to be obsessed by something that can't come out in any other way, then the other things - the skill and technique - will follow.
No theoretician, no writer on art, however interesting he or she might be, could be as interesting as Picasso. A good writer on art may give you an insight to Picasso, but, after all, Picasso was there first.
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