Анри Матисс цитаты

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„Счастлив тот, кто умеет петь с душою чистой и открытой… Нужно уметь находить радость во всём: в небе, в деревьях, в цветах. Цветы цветут всюду для всех, кто только хочет их видеть.“

„Я всегда старался, чтобы зритель не заметил моих усилий, и в итоге остались только легкость и жизнерадостность, как у весны, — никто ведь и не думает, каких трудов ей это стоит.“

„Творить — значит выражать то, что есть в тебе.“

„Ничего нельзя достичь без любви.“

„Возможно, что, сам того не ведая, я всё же верю во вторую жизнь, в некий рай, где я буду писать фрески.“

„Цветы цветут повсюду для всех, кто только хочет их видеть.“

„Лишь после долгих лет подготовки молодой художник имеет право обратиться к Цвету. К Цвету, конечно, не как средству внешнего описания, а как средству Духовного выражения.“

„Бумага, из которой вырезаю, помогает мне рисовать в цвете. Для меня задача состоит в упрощении. Вместо того чтобы рисовать контур и заполнять его цветом, я рисую непосредственно в цвете.“

„Значительность художника измеряется количеством новых знаков, которые он введет в пластический язык.“

„Я полагаю, что для художника нет ничего труднее, чем писать розу; но создать свою розу он может, лишь забыв обо всех розах, написанных до него. Первый шаг к творчеству состоит в том, чтобы увидеть истинный облик каждого предмета.“

„Самое важное для меня — это замысел. С самого начала необходимо иметь чёткое представление о целом.“

„Я неспособен сделать какое-либо различие между чувством, что я беру от жизни и способа, которым я перевожу то чувство в живопись.“

„Каждая часть картины играет свою роль, главную или второстепенную. Всё то, что не нужно в картине, вредит ей. В произведении должна быть гармония всех частей; лишняя подробность может занять в уме зрителя место чего-либо существенного.“

„Композиция — это умение декоративно распределить различные элементы картины, чтобы выразить свои чувства.“

„Художник должен обладать Природой. Он должен идентифицировать себя со своим ритмом, мерами, которые подготовят мастерство, которое позже позволит ему выражать себя на его собственном языке.“

„Между моими старыми картинами и декупажами нет разрыва; только при большей абсолютизации мне удалось достигнуть формы, обнажённой до самой сути.“

„От предмета, изображавшегося мной раньше во всей его пространственной сложности, остался знак, вполне достаточный и необходимый для того, чтобы дать жизнь и предмету, и ансамблю, в котором я его замыслил.“

„Выразительность для меня заключается не в страсти, которая вдруг озарит лицо или проявится в бурном движении. Она во всём строе моей картины; место, занимаемое предметами, промежутки между ними, их соотношения — вот что имеет значение.“

“It is only after years of preparation that the young [artist] should touch color — not color used descriptively, that is, but as a means of personal expression.”

“[I wouldn't mind turning into] a vermilion goldfish.”

“The future painter must feel what is useful for his development – drawing or even sculpture everything that will let him become one with Nature, identify himself with her, by entering into the things – which is what I call Nature – that arouse his feelings. I believe study by means of drawing is most essential. If drawing is of the Spirit and color of the Senses, you must draw first, to cultivate the spirit and to be able to lead color into spiritual paths.”

“The work of Renoir, after that of Cézanne whose great influence had been manifested among artists, save us from whatever drying effect there is in pure abstraction. The rules that one might deduce in considering the work of these two masters appear to be more difficult to discover in the work of Renoir, who hides his efforts better. Whereas the continuous tension of the mind of Cézanne, his lack of self-confidence, prevent him from giving himself to us entirely even though he shows the evidence of his corrections, from which are easily (too easily) deduced rules that have a mathematical precision.”

“If upon a white canvas I jot down some sensations of blue, of green, of red – every new brush stroke diminishes the importance of the preceding ones. Suppose I set out to paint an interior... If I paint a green near the red, if I paint in a yellow floor, there must still be between this green, this yellow, and the white of the canvas a relation that will be satisfactory to me. But these several tones mutually weaken one another. It is necessary, therefore, that the various elements that I use be so balanced that they do not destroy one another..”

“I will repeat what I once said to Guillaume Apollinaire: "For my part I have never avoided the influence of others. I would have considered it cowardice and a lack of sincerity toward myself."”

“Delacroix's composition is more entirely created, while that of Seurat employs matter organized scientifically, reproducing, presenting t our eyes objects constructed by scientific means rather than by signs, coming from our feeling. As result there is in his works a positivism, a slightly inert stability, coming from his composition, which is not the result of a creation of the mind, but of a juxtaposition of the objects. It is necessary to cross this barrier to re-feel light, colored and soft, and pure, the noblest pleasure”

“I simply put down colours which render my sensation.”

“Expression for me does not reside in passions glowing in a human face or manifested by violent movement. The entire arrangement of my picture is expressive; the place occupied by my figures, the empty space around them, the proportions, everything has its share. Composition is the art of arranging in a decorative manner the diverse elements at the painter's command to express his feelings. In a picture every part will be visible and will play its appointed role, whether it be principal or secondary. Everything that is not useful in the picture is, it follows, harmful. A work of art must be harmonious in its entirety: any superfluous detail would replace some other essential detail in the mind of the spectator.”

“Do I believe in God? Yes, when I am working. When I am submissive and modest, I feel myself to be greatly helped by someone who causes me to do things that exceed my capabilities. However, I cannot acknowledge him because it is as if I were to find myself before a conjuror whose sleight of hand eludes me.”

“My choice of colors does not rest on any scientific theory; it is based on observation, on feeling, on the very nature of each experience. I.... merely try to find a color that will fit my sensation. There is an impelling proportion of tones that can induce me to change the shape of a figure or to transform my composition. Until I have achieved this proportion in all the parts of the composition I strive towards it and keep on working. Then a moment comes when every part has found its definite relationship, and from then on it would be impossible for me to add a stroke to my picture without having to paint it all over again.”

“What I am after, above all, is expression. Sometimes it has been conceded that I have a certain technical ability but that, my ambition being limited, I am unable to proceed beyond a purely visual satisfaction such as can be procured from the mere sight of a picture. But the purpose of a painter must not be conceived as separate from his pictorial means, and these pictorial means must be the more complete (I do not mean complicated) the deeper is his thought. I am unable to distinguish between the feeling I have for life and my way of expressing it.”

“Expression, to my way of thinking, does not consist of the passion mirrored upon a human face or betrayed by a violent gesture. The whole arrangement of my picture is expressive. The place occupied by figures or objects, the empty spaces around them, the proportions – everything plays a part. Composition is the art of arranging in a decorative manner the various elements at the painter’s disposal for the expression of his feelings”

“"I do not literally paint that table, but the emotion it produces upon me."
After a pause full of intense thought on my part, I asked: "But if one hasn't always emotion. What then?"
"Do not paint," he quickly answered. "When I came in here to work this morning I had no emotion, so I took a horseback ride. When I returned I felt like painting, and had all the emotion I wanted.”

“To paint an autumn landscape I will not try to remember what colors suit this season, I will only be inspired by the sensation that the season gives me; the icy clearness of the sour blue sky will express the season just as well as the tonalities of the leaves. My sensation itself may vary, the autumn may be soft and warm like a protracted summer or quite cool with a cold sky and lemon yellow trees that give a chilly impression and announce winter.”

“A picture must possess a real power to generate light.... for a long time now I've been conscious of expressing myself through light or rather in light.”

“Drawing with scissors: To cut to the quick in color reminds me of the direct cutting of sculptors.”

“We are born with the sensibility of a period of civilization. We are not masters of our production; it is imposed upon us.”

“I know that Seurat is completely the opposite of a romantic, which I am, but with a good portion of the scientific, of the rationalist, which creates the struggle from which I sometimes emerge the victor, but exhausted.”

“Drawing is like making an expressive gesture with the advantage of permanence.”

“Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human.”

“The vertical is in my spirit. It helps me to define precisely the direction of lines, and in quick sketches I never indicate a curve, that of a branch in landscape for example, without being aware of its relationship to the vertical.
My curves are not mad.”

“The chief aim of color should be to serve expression as well as possible. I put down my colors without a preconceived plan. If at the first step and perhaps without my being conscious of it one tone has particularly pleased me, more often then not when the picture is finished, I will notice that I have respected this tone while I have progressively altered and transformed the others. I discover the quality of colors in a purely instinctive way.”

“A work of art must carry in itself its complete significance and impose it upon the beholder even before he can identify the subject-matter. When I see the Giotto frescoes at Padua I do not trouble to recognize which scene of the life of Christ I have before me, but I perceive instantly the sentiment which radiates from it and which is instinct in the composition in every line and color.”

“There is an impelling proportion of tones that may lead me to change the shape of a figure or to transform my composition. Until I have achieved this proportion in all the parts of a composition I strive towards it and keep on working. Then a moment comes when all the parts have found their definite relationships, and from then on it would be impossible for me to add a stroke to my picture without having to repaint it entirely.”

“I am forced to transpose until finally my picture may seem completely changed when, after successive modifications, the red has succeeded the green as the dominant color. I cannot copy nature in a servile way, I must interpret nature and submit it to the spirit of the picture – when I have found the relationship of all the tones the result must be a living harmony of tones, a harmony not unlike that of a musical composition”

“I have always tried to hide my efforts and wished my works to have the light joyousness of springtime which never lets anyone suspect the labors it has cost me..”

“I want to reach the state of condensation of sensations which constitutes a picture. Perhaps I might be satisfied momentarily with a work finished at one sitting, but I would soon get bored looking at it; therefore, I prefer to continue working on it so that later I may recognize it as a work of my mind..”

“What I dream of is an art of balance, of purity and serenity, devoid of troubling or disturbing subject matter, an art which could be for every mental worker, for the businessman was well as the man of letters, for example, a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue.”