Quotes of All Topics . Occasions . Authors
I too am a government.
Fine art is knowledge made visible.
The principle of realism means denial of the ideal.
When I am no longer controversial, I will no longer be important
I have never seen an angel. Show me an angel, and I'll paint one.
Art is a wholly physical language whose words are all the visible objects.
I hope to live all my life for my art, without abandoning my principles one iota.
I have never seen either angels or goddesses, so I am not interested in painting them.
France is the only nation in which astoundingly small numbers of civilized patrons reside.
Beauty lies in nature and reveals, once the artist has perceived it, its own expressive power.
The expression of beauty is in direct ratio to the power of conception the artist has acquired.
Titles have never given a just idea of things; were it otherwise, the work would be superfluous.
Beauty, like truth, is relative to the time when one lives and to the individual who can grasp it.
Painting is the representation of visible forms. The essence of realism is its negation of the ideal.
It is fatal for art if it is forced into official respectability and condemned to sterile mediocrity.
Painting is an essentially concrete art and can only consist of the representation of real and existing things.
The state is not competent in artistic matters... When the state leaves us free, it will have carried out its duty.
To be able to translate the customs, ideas and appearance of my times as I see them - in a word, to create a living art - this has been my aim.
Art or talent, for an artist, is merely a means of applying his personal faculties to the ideas and the things of the period in which he lives.
When we see men of worth, we should think of equalling them; when we see men of a contrary character, we should turn inward and examine ourselves.
I am not one who was born in the custody of wisdom; I am one who is fond of olden times and intense in quest of the sacred knowing of the ancients.
I hope always to earn my living by my art without having ever deviated by even a hair's breadth from my principles... to please anyone or to sell more easily.
The beautiful is in nature, and it is encountered under the most diverse forms of reality. Once it is found it belongs to art, or rather to the artist who discovers it.
Beauty, like truth, is relative to the time when one lives and to the individual who can grasp it. The expression of beauty is in direct ratio to the power of conception the artist has acquired.
I deny that art can be taught, or, in other words, maintain that art is completely individual, and that the talent of each artist is but the result of his own inspiration and his own study of past tradition.
I hope to live all my life for my art, without abandoning my principles one iota, without . . . having painted as much as you can cover with your hand, to please somebody or in order to sell the picture more easily.
Without trying to clear up the degree of correctness of a qualification which no one, one must hope, will be asked to understand exactly, I will limit myself to a few words of explanation to cut short any misunderstandings.
I am fifty years old and I have always lived in freedom; let me end my life free; when I am dead let this be said of me: 'He belonged to no school, to no church, to no institution, to no academy, least of all to any regime except the regime of liberty.'
I have studied the art of the masters and the art of the moderns, avoiding any preconceived system and without prejudice. I have no more wanted to imitate the former than to copy the latter; nor have I thought of achieving the idle aim of art for art's sake.
Painting is an essentially concrete art and can only consist of the representation of real and existing things. It is a completely physical language, the words of which consist of all visible objects. An object which is abstract, not visible, non-existent, is not within the realm of painting.
On the left is the realist tradition of the 19th century, with its impulse to social description, radical criticism and meditation on things as they are... culminating in Courbet at his mightiest (The Studio, The Funeral at Ornans and a portrait of a trout that has more death in it than Rubens could get in a whole Crucifixion).