Georges Braque Quotes

When cubism began to take a social form, Metzinger was especially talked about. He explained cubism, while Picasso never explained anything. It took a few years to see that not talking was better than talking too much.

I think cubism has not fully been developed. It is treated like a style, pigeonholed and that's it.

The basis for my own work during the years just before coming to America in 1915 was a desire to break up forms - to 'decompose' them much along the lines the cubists had done. But I wanted to go further - much further - in fact, in quite another direction altogether.

I'm not an abstract artist; I leave that to others. To me, abstract art ended with Kazimir Malevich's 'Black Square.' To continue it is senseless.

Artists of many diverse types began using simple forms to their own ends.

The first half of the 20th century belongs to Picasso, and the second half is about photography. They said digital would kill photography because everyone can do it, but they said that about the box brownie in 1885 when it came out. It makes photography interesting because everyone thinks they can take a picture.

Cubism was an attack on the perspective that had been known and used for 500 years. It was the first big, big change. It confused people: they said, 'Things don't look like that!'

From 1940 to the present, the art world - and particularly Los Angeles - has undergone a transformation not unlike the Italian Renaissance.

Everybody has called Pop Art 'American' painting, but it's actually industrial painting.

When we discovered cubism, we did not have the aim of discovering cubism. We only wanted to express what was in us.

How much the work of an artist owes to an art movement to which he belongs can never be determined exactly, if only because the movement derives its character from the individual creations of its members.

I hate artists who are not of their time.

What distinguishes modern art from the art of other ages is criticism.

If they were starting their careers today, Rockwell and Picasso would probably both be painting on black velvet.

Picasso's always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.

If only America would realize that the art of Europe is finished - dead - and that America is the country of the art of the future, instead of trying to base everything she does on European traditions!

I wanted to paint in a folk-artist-y way. My heroes were Van Gogh, Gauguin, Matisse, and Rembrandt. I think Picasso is about as a modern as I got. But I incorporated things that they rejected as well as movements that happened later.

What interests me, and has always interested me, has been modernism.

In the beginning, the cubists broke up form without even knowing they were doing it. Probably the compulsion to show multiple sides of an object forced us to break the object up - or, even better, to project a panorama that unfolded different facets of the same object.

In its most limited sense, modern, art would seem to concern itself only with the technical innovations of the period.

Conceptual art became the liberating idea that gave the art of the next 40 years its real impetus.

When you think about Dada and the great moments in Modern Art, it's always the sense of when you're not sure that art is most likely to be occurring.

I don't think there is any question that Picasso is the greatest figure of the 20th century.

In a lot of ways, I wouldn't be an artist in another time. I need to exist in a time where high and low art mix easily.