Top 55 Matisse Quotes & Sayings

Futurism and Cubism are comparable in importance to the invention of perspective, for which they substituted a new concept of space. All subsequent movements were latent in them or brought about by them.. ..the two movements cannot be regarded as in opposition to each other, even though they started from opposite points; I maintain [an idea approved by Appolinaire and later by Matisse that they are two extremes of the same sign, tending to coincide at certain points which only the poetic instinct of the painter can discover: 'poetry' being the content and 'raison d'tre' of art.

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.

'Matisse and Picasso' is a little like Plato after Socrates. Socrates only taught in words. He didn't write. And after that, you had Plato and Aristotle to write about what he had said. I write about them because they didn't write about them.

Every so often every artist feels, 'I'll never paint again. The muse has gone out the window.' In 1985, I hardly painted at all for three months, and it was agonizing. I looked at reproductions. I stared at Matisse. I stared at the Old Masters. I stared at the Quattrocento. And I thought to myself - Don't push it! If you try too hard to get at something, you almost push it away.

If people knew what Matisse, supposedly the painter of happiness, had gone through, the anguish and tragedy he had to overcome to manage to capture that light which has never left him, if people knew all that, they would also realize that this happiness, this light, this dispassionate wisdom which seems to be mine, are sometimes well-deserved, given the severity of my trials.

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.

Don't feel you have to buy something to sit in or at. Buy something you are emotionally attached to and build your design around that. One Matisse cutout poster could provide you with your whole color scheme!

I'm hoping to have a ninth decade like Matisse's.

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 looked at Rembrandt and Superman, Matisse and Bugs Bunny, and began to make my own pictures.

To any writer: Teach yourself to work in uncertainty. Many writers are anxious when they begin, or try something new. Even Matisse painted some of his Fauvist pictures in anxiety. Maybe that helped him to simplify. Character, discipline, negative capability count. Write, complete, revise. If it doesn't work, begin something else.

Civilization is an active deposit which is formed by the combustion of the Present with the Past. Neither in countries without a Present nor in those without a Past is it to be encountered. Proust in Venice, Matisse's birdcages overlooking the flower market at Nice, Gide on the seventeenth-century quais of Toulon, Lorca in Granada, Picasso by Saint-Germain-des-Prés: there lies civilization and for me it can exist only under those liberal regimes in which the Present is alive and therefore capable of assimilating the Past.

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.

Simplicity can have a negative impact when it's the crude reduction of nuances beyond appreciation: a Matisse presented as a 16-color GIF.

If you put a blank canvas in front of Matisse and say, 'This has to be a success,' who's going to pick up a paintbrush?

Matisse was very clear about saying that you have to blow your own trumpet and explain yourself, which I think has been slightly forgotten.

Matisse makes a drawing, then he makes a copy of it. He copies 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.

No one would want to pay a penny for an empty canvas by me. But it would be quite another if the empty canvas were signed by a great artist. I would be surprised if an empty canvas by Picasso or Matisse signed and inscribed with the words, 'I wanted to paint such and such on this canvas, but did not do so,' would not fetch thousands... After all, with an empty canvas, the possibilities are limitless, and so perhaps is the cash.

Modernism in a way, early modernism, for instance, in pictures, was turning against perspective and Europe. And all early modernism is actually from out of Europe, when you think of cubism is African, is looking at Africa, Matisse is looking at the arabesque, Oceania. Europe was the optical projection that had become photography, that had become film, that became television and it conquered the world.

Have not Manet and Monet, Cézanne and Matisse, rendered to painting something of the same service which Keats and Shelley gave to poetry after the solemn and ceremonious literary perfections of the eighteenth century? They have brought back to the pictorial art a new draught of joie de vivre; and the beauty of their work is instinct with gaiety, and floats in sparkling air. I do not expect these masters would particularly appreciate my defence, but I must avow an increasing attraction to their work.

I'm sure I've been influenced by every fine writer I've ever read, from Dickens and Austen to Auden and Jane Hirshfield. And also, the short stories of Updike, Cheever, Munro, Alice Adams, and Doris Lessing. And the plays of Oscar Wilde. And paintings by Alice Neel and Matisse.

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.'

Near the end of his life, Henri Matisse's preferred attire was evening wear, by which I mean pajamas.

All things considered, there is only Matisse.

Matisse was my God. I'm a French artist, that's for sure. I am color-oriented and what you might call a composer. I am not pouring my guts out; I keep them inside.

When you see the best of the best - when you see a Matisse or a Picasso - what interests you is the creativity and harmony.

It was Matisse who took the first step into the undiscovered land of the ugly.

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.

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.

People say I am stuck in childhood, but it's not that. I remember seeing a Matisse retrospective, and you could see he started out one way, and then he tried something different, and then he seemed to spend his whole life trying to get back to the first thing.

When I tried to do something else, everyone behaved as if I was Gypsy Rose Lee trying to paint a Matisse.

Think of the aged and bed-ridden Matisse cutting out strips of coloured paper, much as a child might, and investing them with a more than mortal vitality... Those strips of paper resonate because they prove that our materials don't determine in advance the worth of what we make.

I think Picasso is more feminine than Matisse.

Matisse renovates rather than innovates.

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.

I'd like to write the way Matisse paints.

I can only paint in India. Europe belongs to Picasso, Matisse, Braque India belongs only to me.

Matisse can make you hate your life for its comparatively insipid joys.

Find a beautiful piece of art. If you fall in love with Van Gogh or Matisse or John Oliver Killens, or if you fall love with the music of Coltrane, the music of Aretha Franklin, or the music of Chopin - find some beautiful art and admire it, and realize that that was created by human beings just like you, no more human, no less.

Like Iran and Syria supplied Hezbollah with sophisticated anti-tank rockets - Matisse, Cornet, and other RPGs that caused great damage to Israeli tanks and Israeli infantry in 2006 - they did the same in Gaza with Hamas.

The problem with Matisse is that I can't ever figure out when he's done a good painting or a bad painting because I don't know how to analyse him. I just know that I like the way he put it on and I like his airs and forms.

Before he did all those lovely line drawings, Matisse would make really detailed charcoal drawings and tear them up. He wouldn't leave them about... I understand what he was doing: discovering what's there... to make the line meaningful, to find a linear solution.

In the end there is only Matisse.

My little Renoirs. Matisse describes having seen Renoir make these tiny canvases. When he had finished working, he would use up the color left in his brushes on them.

My mother was a Bloomsbury figure: a great friend of TS Eliot, Duncan Grant, Vanessa Bell. My grandmother, Mary Hutchinson, gave her life to works of art, being an admirer of Matisse and Giaometti, whom I collected as a young man because of her.

Look, Matisse I ain't. You know how they have on the invitations, a reception for the artist will be held at... And I say, Look, you gotta change this. I'm not an artist. I'm a photographer, a skilled craftsman.

In the dream world of Matisse and the gritty reality of American frontier, the diversity of women in our society offers the chance for greater exploration and even greater inspiration.

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.

In their pursuit of the same supreme end, Matisse and Picasso stand side by side, Matisse representing color and Picasso form.

If I had to pick an artist that I look up to and am inspired by, it's Matisse because of how many times he would paint the same idea until he felt like he maybe got it right, and I try to do the same thing with my writing.

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.

Art comes from art: I remember going to the Matisse show and seeing how Matisse had taken one of his own paintings, worked from it and transformed it, and that had led on to the next one and the next.

I've photographed everybody from Matisse to Isamu Noguchi.

There's a new Mozart, a new Miles Davis, a new Misty Copeland, a new Matisse potentially languishing in a math class somewhere. If we fail to introduce them to art, we fail humanity.

It is comparatively easy to achieve a certain unity in a picture by allowing one colour to dominate, or by muting all the colours. Matisse did neither. He clashed his colours together like cymbals and the effect was like a lullaby.