Truth exists; only lies are invented.— Georges Braque
The most tempting Georges Braque quotes that will activate your desire to change
Thanks to the oval I have discovered the meaning of the horizontal and the vertical.
There is only one valuable thing in art: the thing you cannot explain.
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 lifes, because in nature there is a tactile, I would almost say a manual space... that was the earliest Cubist painting - the quest for space.
To explain away the mystery of a great painting - if such a feat were possible - would do irreparable harm... If there is no mystery, then there is no poetry, the quality I value above all else in art.
The painter thinks in terms of form and color.
The goal is not to be concerned with the reconstitution of an anecdotal fact, but with constitution of a pictorial fact.
Reality only reveals itself when it is illuminated by a ray of poetry.
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.
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.
If I have called Cubism a new order, it is without any revolutionary ideas or any reactionary ideas... One cannot escape from one's own epoch, however revolutionary one may be.
Limited means often constitute the charm and force of primitive painting.
Extension, on the contrary, leads the arts to decadence.
Truth exists, only falsehood has to be invented.
I have made a great discovery. I no longer believe in anything.
Painting is a nail to which I fasten my ideas.
When one reaches this state of harmony between things and one's self, one reaches a state of perfect freedom and peace-which makes everything possible and right. Life becomes perpetual revelation.
The space between the dish and the pitcher, that I paint also.
With age, art and life become one.
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 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.
Emotion should not be rendered by an excited trembling;
it can neither be added on nor be imitated. It is the seed, the work is the flower.
Illusions... are simple facts, but they have been created by the mind, by the spirit, and they are one of the justifications of the new spatial configuration.
Art is meant to disturb. Science reassures.
Never join an organization.
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.
Perspective starts from one viewpoint and never gets away from it.
But the viewpoint is quite unimportant. It is though someone were to draw profiles all his life, leading people to think that a man has only one eye.
It is not sufficient that what one paints should be made visible. It must be made tangible.
There is more sensitivity in technique than in the rest of the picture.
Colour could give rise to sensations which would interfere with our conception of space.
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 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.
Poetry' is what distinguishes the cubist paintings Picasso and I arrived at intuitively from the lifeless sort of painting those who followed us tried, with such unfortunate results, to arrive at theoretically.
The function of Art is to disturb. Science reassures.
Perspective is a ghastly mistake which it has taken four centuries to redress.
One day I noticed that I could go on working my art 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 limitation of means that determines style, gives rise to new forms and makes creativity possible.
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.
Scientific perspective forces the objects in a picture to disappear away from the beholder instead of bringing them within his reach as painting should.
Evidence exhausts the truth.
I wanted to create a kind of substance by means of brush-work.
But that is the kind of discovery which one makes gradually... Thus it was that I subsequently began to introduce sand, sawdust and metal filings into my pictures.
To work from nature is to improvise.
Nature is a mere pretext for a decorative composition, plus sentiment.
It suggests emotion, and I translate that emotion into art.
Work to perfect the mind. There is no certitude but in what the mind conceives.
Colour acts simultaneously with form, but has nothing to do with form.
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... it is absurd to read any sort of symbolic significance into them.
Out of limitations, new forms emerge
Art disturbs, science reassures.
I have made a great discovery. I no longer believe in anything. Objects don't exist for me except in so far as a rapport exists between them and myself. When one attains this harmony, one reaches a sort of intellectual non-existence, what I can only describe as a sense of peace, which makes everything possible and right. Life then becomes a perpetual revelation. That is true poetry.
The whole Renaissance tradition is antipethic to me.
The hard-and-fast rules of perspective which it succeeded in imposing on art were a ghastly mistake which it has taken four centuries to redress; Cezanne and after him Picasso and myself can take a lot of credit for this. Scientific perspective forces the objects in a picture to disappear away from the beholder instead of bringing them within his reach as painting should.