Pablo Picasso quotes
“Everything you can imagine is real.”
“Others have seen
what is and asked why. I have seen what could be and asked why not”
“Art washes away from
the soul the dust of everyday life.”
“Only put off until
tomorrow what you are willing to die having left undone”
“There are painters
who transform the sun to a yellow spot, but there are others who with the help
of their art and their intelligence, transform a yellow spot into sun”
“The chief enemy of
creativity is good sense.”
“When I was a child
my mother said to me, 'If you become a soldier, you'll be a general. If you
become a monk, you'll be the pope.' Instead I became a painter and wound up as
Picasso.”
“I am always doing
that which I can not do, in order that I may learn how to do it.”
“What do you think an
artist is? ...he is a political being, constantly aware of the heart breaking,
passionate, or delightful things that happen in the world, shaping himself
completely in their image. Painting is not done to decorate apartments. It is
an instrument of war.”
“Bad artists copy.
Good artists steal.”
“Inspiration exists,
but it has to find you working.”
“If I paint a wild
horse, you might not see the horse... but surely you will see the wildness!”
“The urge to destroy is also a creative urge.”
“It takes a very long
time to become young.”
“There are only two
types of women: goddesses and doormats.”
“There is no abstract
art. You must always start with something. Afterward you can remove all traces
of reality.”
“I do not seek. I
find.”
“To draw, you must
close your eyes and sing”
“Computers are useless. They can only give you answers.”
“God is really only
another artist. He invented the giraffe, the elephant and the cat. He has no
real style, He just goes on trying other things.”
“Youth has no age. ”
“Painting is just
another way of keeping a diary.”
“It took me four years to paint like Raphael, but a lifetime
to paint like a child.”
“We all know that Art
is not truth. Art is a lie that makes us realize truth at least the truth that
is given us to understand. The artist must know the manner whereby to convince
others of the truthfulness of his lies.”
“If only we could
pull out our brain and use only our eyes.”
“I'd like to live as
a poor man with lots of money.”
“I paint objects as I
think them, not as I see them.”
“He can who thinks he
can, and he can't who thinks he can't. This is an inexorable, indisputable
law.”
“We artists are
indestructible; even in a prison, or in a concentration camp, I would be
almighty in my own world of art, even if I had to paint my pictures with my wet
tongue on the dusty floor of my cell.”
“Give me a museum and
I'll fill it.”
“I begin with an idea
and then it becomes something else. ”
“If I don't have red,
I use blue.”
“People want to find
a meaning in everything and everyone. That's the disease of our age...”
“We don't grow older
we grow riper.”
“Action is the
foundational key to all success. ”
“All art is erotic.”
“Every positive value has its price in negative terms... the
genius of Einstein leads to Hiroshima.”
“You don't make art,
you find it”
“Love is the greatest
refreshment in life”
“The artist is a
receptacle for emotions that come from all over the place: from the sky, from
the earth, from a scrap of paper, from a passing shape, from a spider's web. ”
“Art is never chaste.
It ought to be forbidden to ignorant innocents, never allowed into contact with
those not sufficiently prepared. Yes, art is dangerous. Where it is chaste, it
is not art.”
“Art is the
elimination of the unnecessary.”
“The world doesn't
make sense, so why should I paint pictures that do?”
“Colors, like features, follow the changes of the emotions.
”
“Everything is a
miracle. It is a miracle that one does not melt in one's bath.”
“Painting is not made to decorate apartments. It's an
offensive and defensive weapon against the enemy.
“Anything new,
anything worth doing, can't be recognized.”
“Painting is stronger
than me, it makes me do it's bidding.”
“Every now and then
one paints a picture that seems to have opened a door and serves as a stepping
stone to other things.”
“Go and do the things
you can't. That is how you get to do them.”
“Some painters
transform the sun into a yellow spot, others transform a yellow spot into the
sun. ”
“Why do two colors,
put one next to the other, sing? Can one really explain this? no. Just as one
can never learn how to paint.”
“What one does is what counts. Not what one had the
intention of doing.”
“Whatever the source
of emotion that drives me to create, I want to give it a form which has some
connection with the visible world, even if it is only to wage war on that
world....I want my paintings to be able to defend themselves to resist the
invader, just as though there were razor blades on all surfaces so no one could
touch them without cutting his hands.”
“The more technique
you have the less you have to worry about it. The more technique there is the
less there is. ”
“It took me a
lifetime.”
“When art critics get
together they talk about Form and Structure and Meaning. When artists get
together they talk about where you can buy cheap turpentine.”
“What do you think an
artist is? An imbecile who only has eyes, if he is a painter, or ears if he is
a musician, or a lyre in every chamber of his heart if he is a poet, or even,
if he is a boxer, just his muscles? Far from it: at the same time he is also a
political being, constantly aware of the heartbreaking, passionate, or
delightful things that happen in the world, shaping himself completely in their
image. How could it be possible to feel no interest in other people, and with a
cool indifference to detach yourself from the very life which they bring to you
so abundantly? No, painting is not done to decorate apartments. It is an
instrument of war.”
“That inspiration
comes, does not depend on me. The only thing I can do is make sure it catches
me working.”
“There is only one way to see things, until someone shows us
how to look at them with different eyes”
“The people who make art their business are mostly
imposters.”
“Whatever You Imagine
Is Real”
“I'm not a developer;
I am.”
“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.”
“Every act of
creation is first of all an act of destruction." ― Pablo Picasso”
“Everybody has the
same energy potential. The average person wastes his in a dozen little ways. I
bring mine to bear on one thing only: my paintings, and everything else is
sacrificed to it...myself included.”
“It is your work in life that is the ultimate seduction.”
“Learn the rules like
a pro, so you can break them like an artist.”
“You have to have an
idea of what you are going to do, but it should be a vague idea.”
“Art is a lie which
makes us realize the truth.”
“Painting it's a
blind man profession. Painter is painting not what he sees but what he feels.”
“We have a definite
but unknown quantity of experience at our disposal. As soon as the hourglass is
turned, the sand will begin to run out and once it starts, it cannot stop until
it's all gone.”
“Inspiration exists,
but it has to find us working.”
“I am always doing
that which I cannot do, in order that I may learn how to do it.”
“Every time I change
wives I should burn the last one. That way I'd be rid of them. They wouldn't be
around to complicate my existence. Maybe, that would bring back my youth, too.
You kill the woman and you wipe out the past she represents.”
“All Children are
Artists”
“Art is not chaste.
Those ill prepared should be allowed no contact with art. Art is dangerous. If
it is chaste, it is not art.”
“I am always doing things I can't do, that's how I get to do
them.”
“Every child is an
artist. The problem is how to remain an artist once she grows up.”
“When I was a child,
my mother said: "If you will be a priest, you will be pope; if you become
a soldier, you will be a general." Instead, I became an artist, and so
became Picasso.”
“Everyone wants to
understand art. Why not try to understand the song of a bird? Why does one love
the night, flowers, everything around one, without trying to understand them?
But in the case of a painting people have to understand. If only they would realize
above all that an artist works of necessity, that he himself is only a trifling
bit of the world, and that no more importance should be attached to him than to
plenty of other things which please us in the world, though we can't explain
them. People who try to explain pictures are usually barking up the wrong
tree.”
“An idea is a point of departure and no more. As soon as you
elaborate it, it becomes transformed by thought”
Pair inherits $65M sculpture, but can't sell it to pay $29M tax bill
Heirs of a wealthy New York art dealer were left a $65
million sculpture that might just be more trouble than its worth.
Illeana Sonnabend, who died in 2007, left an art
collection worth an estimated $1 billion. But one item in particular, Robert
Rauschenberg's “Canyon,” is an heir's nightmare, a lawyer's dream and an IRS
conundrum. The bequest comes with a $29 million tax bill, but since the piece
includes a stuffed eagle, it can't be sold, according to The New York Times.
Lawyers for Sonnabend's children and beneficiaries, Nina
Sundell and Antonio Homem, are hoping federal tax collectors change their
valuation of the item, since they're stuck with the piece - and the taxes on
it. But for now, the IRS isn't budging, and the case may be decided by a jury.
“We are hopeful for it to be resolved before a trial,”
tax attorney Ralph Lerner told FoxNews.com.
Federal law makes it a crime to possess, transport, sell
or otherwise convey a bald eagle, whether it is alive or, as in this case,
stuffed. Sonnabend got an informal waiver from the U.S. Fish and Wildlife
Service in 1981 that allowed her to keep the piece, considered a masterwork of
20th century art. (Rauschenberg got a waiver for the artwork by showing that
the bird had been killed and stuffed long before the restriction was enacted.)
Sonnabend died in 2007 at age 92. The estate tax, which
at the time of Sonnabend's death stood at 50 percent on estates above $1
million, was suspended in 2010 as part of the Bush-era tax cuts, which were
renewed and remain in effect until the end of this year.
Placing a value on an item that cannot be sold is no easy
feat. The venerable auction house Christie’s placed the value of
"Canyon" at zero. The IRS initially put it at $15 million, then
jumped the figure to $65 million when Sundell and Homem refused to pay,
according to The New York Times.
The IRS, which declined to comment on the matter, is not
only asking for $29 million in taxes, but also an $11.7 million “gross
valuation misstatement” penalty, according to Forbes.
Sundell and Homem, who could not be reached for comment
Tuesday, have paid $471 million in federal and state estate taxes related to
the collection and have already sold roughly $600 million worth of art to pay
those taxes, Lerner told FoxNews.com.
Have archeologists located Mona Lisa's skeleton?
Archeologists in Florence, Italy, have found a tomb that
they say might hold the remains of Lisa Gherardini, who was immortalized in
Leonardo Da Vinci's iconic 'Mona Lisa.'
Archaeologists in Florence, Italy, might have found the
remains of the world's most famous artistic subject.
The Italian news agency ANSA reports that a team led by art
historian Silvano Vincenti, head of the National Committee for the Enhancement
of Historical, Cultural and Environmental Heritage, may have discovered a tomb
in a former convent that could contain the skeleton of Lisa Gherardini, thought
to be the subject of Leonardo Da Vinci's 'Mona Lisa.'
Vinceti says that, after the year 1500, only two women were
buried at the medieval convent of St. Ursula: Mona Lisa Gherardini, in 1542,
and another noblewoman, Maria del Riccio.
Gherardini is widely believed to have inspired the Da
Vinci's iconic painting. The wife of wealthy merchant Francesco del Giocondo,
she lived at the convent after her husband died, according to ANSA.
Vinceti told ABC News the bones will be tested at the
University of Bologna for DNA matches to the bones of Gherardini's two sons,
who were buried in Florence’s Santissima Annunziata church
Discovery News reports that the project ultimately aims to
reconstruct the faces of the women buried there, perhaps even recreating Mona
Lisa's mysterious smile.
"I'm confident we're going to find something,"
Vinceti told ANSA.
Thomas P. Anshutz
Thomas Pollock Anshutz (October 5, 1851 – June 16, 1912) was
an American painter and teacher. Co-founder of The Darby School and leader at
the Pennsylvania Academy of Fine Arts, Anshutz was known for his award winning
portraiture work and working friendship with Thomas Eakins.
Thomas Anshutz was
born in Newport, Kentucky in 1851. He grew up in Newport and Wheeling, West
Virginia. His early art instruction took place at the National Academy of
Design in the early 1870s, where he studied under Lemuel Wilmarth.
In 1875 he moved to Philadelphia and took a class taught by
Thomas Eakins at the Philadelphia Sketch Club, a class which would solidify a
close relationship and influence between Eakins and Anshutz.
In 1892 Anshutz
married Effie Shriver Russell. The two spent their honeymoon in Paris, where
Anshutz attended classes at Académie Julian. In 1893 they returned to
Philadelphia. Later in his life he
proclaimed himself a socialist. He retired from teaching in the fall of 1911
due to poor health and died on June 16, 1912.
In 1876 Anshutz and
Thomas Eakins joined the Pennsylvania Academy of the Fine Arts. Eakins became
Chief Demonstrator of Anatomy while Anshutz continued as his student, and the
student of Christian Schussele. In 1878 Anshutz became Eakins assistant,
eventually replacing Eakins as Chief Demonstrator when Eakins became Professor
of Drawing and Painting. In 1880 he completed his first major work,
Ironworker's Noontime, while still a student.
Ironworker's
Noontime, Anshutz's most well known
painting, depicts several workers on their break in the yard of a foundry.
Painted near Wheeling, West Virginia, it is conceived in a naturalistic style
similar to that of Eakins, although Eakins never painted industrial subjects. The piece was exhibited at the Philadelphia
Sketch Club in 1881 and compared to Eakin's work by art critics. Art historian
Randall C. Griffin has written of it: "One of the first American paintings
to depict the bleakness of factory life, The Ironworkers' Noontime appears to
be a clear indictment of industrialization. Its brutal candor startled critics,
who saw it as unexpectedly confrontational—a chilling industrial snapshot not
the least picturesque or sublime." It is now in the collection of the Fine
Arts Museums of San Francisco.
Around 1880 Eakins became involved in photography,
incorporating it into his classes and artwork. Anshutz and other artists at the
Academy started to make use of the camera, posing models and students to take
photos and making prints for study. Anshutz participated in Eakins The Naked
Series, creating photographs featuring nude models in seven pre-defined
standing poses. He also participated by modeling as well, along with other
colleagues like Eakins, John Laurie Wallace and Covington Few Seiss, who would
pose outdoors nude, often wrestling, swimming and boxing. Eadweard Muybridge
eventually made his way to Philadelphia and Anshutz and Eakins helped build
Muybridge's zoopraxiscope.
Eakins was dismissed
from his position in 1886 and Anshutz took over as art instruction leader at
the Academy. Anshutz would briefly travel to Europe, focusing primarily on his
teaching in Philadelphia. Numerous artists studied under Anshutz, including
George Luks, Charles Demuth, John Sloan, Charles Sheeler, Everett Shinn, John
Marin, William Glackens, and Robert Henri.
As a teacher,
Anshutz, according to art historian Sanford Schwartz, "was known as much
for his approachability as his sarcasm, which apparently wasn't of the
withering variety."
The Anshutz family
regularly vacationed in Holly Beach, New Jersey which served as a creative
place for the painter. There he experimented with watercolors, bright color
palette, and simple compositions. He also photographed the natural environment,
utilizing the images as studies for paintings, specifically Holly Beach and
trips down the Delaware and Maurice rivers. Although Anshutz experimented
persistently with landscape painting, he was more well known for his
portraiture, which won him numerous awards in the 1890s and 1900s.
In 1898 he and Hugh Breckenridge co-founded the Darby
School, a summer school outside of Philadelphia which emphasized plein air
painting. At Darby Anshutz created his most abstract works, a series of bright
oil landscape paintings that were never exhibited. He continued to participate
at Darby until 1910. He served as a member of the National Academy of Design
and president of the Philadelphia Sketch Club.
In 1971 Robert and
Joy McCarty, who lived in the home formerly owned by the Anshutz family in Fort
Washington, Pennsylvania, donated a portion of letters, glass negatives, and
photographs to the Archives of American Art. A second donation from the Anshutz
family took place in 1971 and 1972, which were microfilmed and returned to the family.
Strangely,stolen Salvador Dali painting reappears by mail
Strangely, stolen Salvador Dali painting reappears by mail
Recovering stolen masterpieces can sometimes take years of
police sleuthing. But in the case of a recently pilfered Salvador Dali
painting, a resolution has come swiftly, if somewhat mysteriously.
Dali's "Cartel de Don Juan Tenirio" was recently
mailed back to the New York gallery from which it was stolen June 19. The
parcel, which the gallery received on Friday, was mailed from Greece, according
to the New York Post, which was the first to report the bizarre return.
The culprit remains unknown, and the return address on the
parcel is believed to be fake.
A surveillance video captured an unidentified man in the
gallery around the same time the painting was believed to have been taken from
a wall. The gallery is the Venus over Manhattan, located in the Upper East Side
neighborhood of New York. The theft took place during business hours.
The painting has an estimated value of $150,000. The Post
reported that police investigators and the gallery have confirmed the
authenticity of the work.
The Post reported that the gallery received an email from an
unknown sender earlier last week saying that the painting was being sent back.
The sudden reappearance of stolen art is not without
precedent. Last year, a drawing that was attributed to Rembrandt was stolen
from a hotel in Marina del Rey, only to resurface a few days later at a church
in Encino.
Experts later cast doubt on the authenticity of that
Rembrandt drawing.
Some experts question authenticity of stolen Rembrandt
The Rembrandt drawing that was stolen last weekend from a
Marina del Rey hotel and then mysteriously reappeared just days later at a
church in Encino has left many questions unanswered. Who stole it? Why was it
returned? Now some experts are questioning whether the small work is an
authentic Rembrandt, according to a report Friday on The Times' L.A. Now blog.
The drawing's owner, the Linearis Institute, maintains that
the work, titled "The Judgment," is authentic. But The Times said
that it has interviewed art experts who cast doubt on its provenance.
The Times said it has reviewed the six-volume catalog of
Rembrandt's work by Otto Benesch, and that the drawing was not included. It
also said the drawing does not appear on a list of 70 authenticated, signed
Rembrandt drawings compiled by scholar Peter Schatborn.
Police seize stolen Paul Cezanne masterpiece
The Associated Press reports that the painting, "The
Boy in the Red Vest," was stolen from a private Swiss museum in 2008,
along with three other paintings by Claude Monet, Vincent van Gogh and Edgar
Degas.
Zurich prosecutors said three men were arrested in Belgrade
in connection with the robbery.
Cezanne's painting was worth 100 million Swiss francs (about
$107 million), when it was taken from the EG Buhrle Collection.
Monet's "Poppy Field at Vetheuil" and Van Gogh's
"Blooming Chestnut Branches" were found undamaged in a car parked at
a mental hospital shortly after the heist.
The fourth, Degas’ "Ludovic Lepic and His Daughter,”
has not been recovered. The masterpiece is worth 10 million francs ($11
million).
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