Paul Cezanne Quotes

Treat nature by the cylinder, the sphere, the cone, everything in proper perspective so that each side of an object or a plane is directed towards a central point.

Paint your picture by means of the lights. Lights define texture and color - shadows define form.

Drawing is based upon perspective, which is nothing else than a thorough knowledge of the function of the eye.

Perspective is a most subtle discovery in mathematical studies, for by means of lines it causes to appear distant that which is near, and large that which is small.

Painting is concerned with all the 10 attributes of sight; which are: Darkness, Light, Solidity and Colour, Form and Position, Distance and Propinquity, Motion and Rest.

Perspective is nothing more than a rational demonstration applied to the consideration of how objects in front of the eye transmit their image to it, by means of a pyramid of lines. The Pyramid is the name I apply to the lines which, starting from the surface and edges of each object, converge from a distance and meet in a single point.

When I put a green, it is not grass. When I put a blue, it is not the sky.

A painting is nothing more than light reflected from the surface of a pigment-covered canvas. But a great painter can make you see the depth, make you feel the underlying emotion, make you sense the larger world. That, too, is the power of science: to sense and convey the depth and dimensionality of nature, to glance at the surface and to divine the shape of the universe around us.

I sketch the faces upside down because it's like drawing from the left side of the brain or the right side of the brain. I never took an art lesson in my life.

Geometry is the foundation of all painting.

Size, perspective- large objects, when you make them too 3D, you dimensionalize them too much, they appear tiny, so you have to be careful about things like that.

To me, the art of cinema is the same as the art of painting. The artist takes a 2D medium and gives you the illusion of depth. If you look at any of the great paintings, you have the illusion of depth. Which is part of the art. The same with the great movies.

A modeled form is less striking than one which is not. Modeling prevents shock and limits movement to the visual depth. Without modeling or chiaroscuro depth is limitless: movement can stretch to infinity.

There are three aspects to perspective. The first has to do with how the size of objects seems to diminish according to distance: the second, the manner in which colors change the farther away they are from the eye; the third defines how objects ought to be finished less carefully the farther away they are.

Cubism is the art of depicting new wholes with formal elements borrowed not only from the reality of vision, but from that of conception.

The high-definition picture is still a perspective picture. That's the real problem, the perspective picture.

Abstract means literally to draw from or separate. In this sense every artist is abstract for he must create his own work from his visual impressions. A realistic or non-objective approach makes no difference. The result is what counts.

If you stand too close to a painting - all you see are patches of color, if you stand too far back, you can't see any of the detail.

If you commit yourself to the art of poetry, you commit yourself to the task of learning how to see, using words as elements of sight and their sounds as prisms. And to see means to see something worth all the agony of learning how to see.

The only principle in art is to copy what you see. Dealers in aesthetics to the contrary, every other method is fatal.

People think one-point and two-point perspective is how the world actually looks, but of course, it isn't. It's a convention.

The horizon is more than a convention of landscape painting, less than truth.

An illusion of depth often occurs if a blockhead is a muddlehead at the same time

All paintings start out of a mood, out of a relationship with things or people, out of a complete visual impression. To call this expression abstract seems to me often to confuse the issue. Abstract means literally to draw from or separate. In this sense every artist is abstract . . . a realistic or non-objective approach makes no difference. The result is what counts.

Depth, in a pictorial, plastic sense, is not created by the arrangement of objects one after another toward a vanishing point, in the sense of the Renaissance perspective, but on the contrary (and in absolute denial of this doctrine) by the creation of forces in the sense of push and pull . Nor is depth created by tonal gradation (another doctrine of the academician which, at its culmination, degraded the use of color to a mere function of expressing dark and light).