Georges Braque citáty

„Pravda existuje. Vymýšlí se lež.“

„Láska a nenávist jsou plody téhož citu a mají k sobě blíže než dvě lásky nebo dvě nenávisti.“

„I velká láska vyžaduje odpočinout si jeden od druhého.“

„Mít svobodné myšlenky - znamená být současný. Málo lidí může říci: "Jsem tu". Jsou v minulosti a vidí se v budoucnosti.“

„Pravda existuje. Vymýšlet je třeba pouze lži.“

„Umění je proto, aby zneklidňovalo.“

„Umění má znepokojovat. Věda vyvolává jistotu.“

„Věda uklidňuje. Umění je od toho, aby rozčilovalo.“

„Umění pro lid vynalezli intelektuálové.“

„Omyl není opakem pravdy. Přemýšlejme!“

„Nepracuji, jak chci; pracuji, jak umím.“

„Není možné chtít věci jen zobrazovat. Je třeba do nich vniknout. Ztělesnit v nich sám sebe.“

„Před umělcem dávám přednost člověku. Cézanne nebyl umělec, Manet ano. Jestli mi rozumíte.“

„Nehledám euforii. Stačí mi zápal.“

„Pesimista své myšlenky nechrání, ale vydává je v šanc.“

„Je holdem umělci, když ho vykrádají.“

„Zapomeňme na věci, zkoumejme pouze vztahy.“

“It is the limitation of means that determine style, gives rise to new forms and makes creativity possible.”

“Whatever is valuable in painting is precisely what one is incapable of talking about.”

“You put a blob of yellow here, and another at the further edge of the canvas: straight away a rapport is established between them. Colour acts in the way that music does, if you like... There is more sensitivity in technique than in the rest of the picture.”

“Colour could give rise to sensations which would interfere with our [Braque & Picasso's, in the start of Cubism] conception of space.”

“One day I noticed that I could go on working art my motif no matter what the weather might be. I no longer needed the sun, for I took my light everywhere with me.”

“It is the act of painting, not the finished painting.”

“At that time I was very friendly with Picasso. Our temperaments were very different, but we had the same idea. Later on it became clear, Picasso is Spanish and I am French; as everyone knows that mean a lot of differences, but during those days the differences did not count… We were living in Montmartre, we used to meet every day, we used to talk... In those years Picasso and I said things to each other that nobody will ever say again, that nobody could say any more... It was rather like a pair of climbers roped together.”

“If we had never met Picasso, would Cubism have been what it is? I think not. The meeting with Picasso was a circumstance in our lives.”

“What greatly attracted me – and it was the main line of advance of Cubism – was how to give material expression to this new space of which I had an inkling. So I began to paint chiefly still life's, because in nature there is a tactile, I would almost say a manual space. I wrote about this moreover 'When a still-life is no longer within reach, it ceases to be a still-life…'. For me that expressed the desire I have always had to touch a thing, not just to look at it. It was that space that attracted me strongly, for that was the earliest Cubist painting – the quest for space.”

“The only valid thing in art is that which cannot be explained. To explain away the mystery of a great painting – if such a feat were possible – would be irreparable harm… If there is no mystery then there is no 'poetry', the quality I value above all else in art. What do I mean by 'poetry'? It is to a painting what life is to man… For me it is a matter of harmony, of rapports, of rhythm and – most important for my own work – of 'metamorphosis”

“I considered that the painter's personality should be kept out of things, and therefore pictures should be anonymous. It was I who decided that pictures should not be signed, and for a time Picasso did the same. I thought that from the moment someone else could do the same as myself, there was no difference between the pictures and they should not be signed. Afterwards I realized it was not so and began to sign my pictures again. Picasso had begun again anyhow. I realized that one cannot reveal oneself without mannerism, without some evident trace of one's personality. But all the same one should not go too far in that direction..”

“…when objects shattered into fragments appeared in my painting about 1909; this for me was a way of getting closest to the object... Fragmentation helped me to establish space and movement in space.”

“When we were so friendly with Picasso, there was a time when we had difficulty in recognizing our own pictures. Later, when the revelation went deeper, differences appeared. Revelation is the one thing that cannot be taken from you. But before the revelation took place, there was still a marked intention of carrying painting in a direction that could re-establish the bond between Picasso and ourselves.”

“Take the birds which you'll have noticed in so many of my recent paintings. I never thought them up, they just materialized of their own accord, they were born on the canvas; that is why it is absurd to read any sort of symbolic significance into them.”

“I will try to explain what I mean by metamorphosis. For me no object can be tied down to any sort of reality. A stone may be part of a wall, a piece of sculpture, a lethal weapon, a pebble on a beach or anything else you like.... when you ask me whether a particular in one of my paintings depicts a woman's head, a fish, a vase, a bird, or all four at once, I can't give you a categorical answer, for this 'metamorphosic' confusion is fundamental to the poetry.”

“By using a white paint applied to the canvas I make a napkin. But I am sure the white shape is something conceived before knowing what it was to become. This means that a certain transformation has taken place... In a painting, what counts is the unexpected.”

“We [ Picasso and Braque], were living in Montmartre, we saw each other every day.... We were like two mountaineers roped together.”

“To avoid a projection towards infinity I am interposing overlaid planes a short way off. To make it understood that things are in front of each other instead of being scattered in space.”

“I would say that it was 'poetry' which distinguishes the cubist paintings which Picasso and I arrived at intuitively from the lifeless sort of painting which those who followed us tried, with such unfortunate results, to arrive at theoretically.”

“Tactile space separates us from objects, as opposed to visual space, which separates objects from one another. I have spent my life trying to paint the former kind.”

“There are certain mysteries, certain secrets in my own work, which even I don't understand, nor do I try to do so.... Critics should help people see for themselves; they should never try to define things, or impose their own explanations, though I admit that if – as nearly always happens – a critic's explanations serve to increase the general obscurity that’s all to the good. French poets are particularly helpful in this respect.”

“What particularly attracted me [in his painting 'Still-life with Musical instruments', 1908 – 1909].... was the materialization of this new space that I felt to be in the offing. So I began to concentrate on still-life's, because in the still-life you have a tactile, I might almost say a manual space... This answered to the hankering I have always had to touch things and not merely see them. It was this space that particularly attracted me, for this was the first concern of Cubism, the investigation of space.... In tactile space you measure the distance separating you from the object, whereas in visual space you measure the distance separating things from each other. This is what led me, long ago, from landscape to still-life.”

“I couldn't portray a women in all her natural loveliness.... I haven't the skill. No one has. I must, therefore, create a new sort of beauty, the beauty that appears to me in terms of volume of line, of mass, of weight, and through that beauty interpret my subjective impression. Nature is mere a pretext for decorative composition, plus sentiment. It suggests emotion, and I translate that emotion into art. I want to express the absolute, not merely the factitious woman.”

“I started to introduce letters into my pictures [his first collage art]. These were forms which could not be deformed, because, being two-dimensional, they existed outside three-dimensional space; their inclusion in a picture allowed a distinction to be made between objects which were situated in space and those which belonged outside space”

“The arts which achieve their effect through purity have never been arts that were good for everything. Greek sculpture (among others) with its decadence, teaches us this.”

“In art progress does not consist in extension, but in the knowledge of limits.
Limitation of means determines style, engenders new form, and give impulses to creation.
Limited means often constitute the charm and force of primitive painting. Extension, on the contrary, leads the arts to decadence.
New means, new subjects.
The subject is not the object; it is a new unity, a lyricism which grows completely from the means.”

“Picasso and I said things to each other during those particular years [c. 1908 -1913] that nobody would any longer know how to say, that nobody would be able to understand any.... things that would be incomprehensible, and which gave us so much pleasure.”

“If I have called Cubism a new order, it is without any revolutionary ideas or any reactionary ideas... One cannot escape form one's own epoch, however revolutionary one may be. I do not think my painting has ever been revolutionary. It was not directed against any kind of painting. I have never wanted to prove that I was right and someone else wrong... If there is a touch of reaction, since life imposes that, it is minute. And then it is so difficult to judge a thing historically, separated from its environment: it is the relationship between a man and what he does that counts. That's what good and touches us.”

“Whatever is in common is true; but likeness is false. Trouillebert's work bears a likeness to that of Corot, but they have nothing in common.”