Georges Braque Quotes

Painting does what we cannot do - it brings a three-dimensional world into a two-dimensional plane.

I have painted portraits that to me are almost photographic. I remember hesitating to show the paintings, they looked so real to me. But they have passed into the world as abstractions - no one seeing what they are.

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

I'm interested in the space between the viewer and the surface of the painting - the forms and the way they work in their surroundings. I'm interested in how they react to a room.

Who sees the human face correctly: the photographer, the mirror, or the painter?

I often avoid using the terms 'figuration' and 'abstraction' because I've always tried to have it both ways. I want the experience of looking at one of my paintings to be similar to the process of making the painting - you go from the big picture to something very intense and detailed, and then back again.

Painting is an illusion, a piece of magic, so what you see is not what you see.

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.

In classical oil painting, there seemed to be a radical turn to seeing things as the camera sees them, with that technological modification. I began to have a tremendous problem with all of this.

Good painting is the kind that looks like sculpture.

Painting from nature is not copying the object; it is realizing one's sensations.

Shadows sometimes people don't see shadows. The Chinese of course never paint them in pictures, oriental art never deals with shadow. But I noticed these shadows and I knew it meant it was sunny.

I think a painting is more like the real world if it's made out the real world.

Height, width, and depth are the three phenomena which I must transfer into one plane to form the abstract surface of the picture, and thus to protect myself from the infinity of space.

Through a painting we can see the whole world.

The point of painting is not really deception or imitation.

Cubism is like standing at a certain point on a mountain and looking around. If you go higher, things will look different; if you go lower, again they will look different. It is a point of view.

In painting feathers, you want to create the look of feathers, but if you try to paint all the feathers, you have nothing but disaster.

Approach nature in terms of the cylinder, the sphere, and the cone ...

Hyperrealism can create an atmosphere of surrealism because nobody sees the world in such detail.

Every painted image of something is also about the absence of the real thing. All painting is about the presence of absence.

The paintings have only ever been ways of exploring architecture. I don't see them as art.

I am trying with all my skill to do a painting that is all woman, as well as all of me.

The painter sees the semblance of things and repeats it. That is, without fabricating the things himself, he fabricates their semblance; and, if that no longer recalls any object, this artificially produced semblance functions only because it is scrutinized for likeness to a familiar - that is, object-related - semblance.

Thirst will parch your tongue and your body will waste through lack of sleep ere you can describe in words that which painting instantly sets before the eye.