Pablo Picasso citations célèbres
Pablo Picasso: Citations en anglais
Herschel Browning Chip (1968, p. 267).
(another and longer version:) What a sad fate for a painter who loves blondes, but who refrains from putting them in his picture because they don’t go with the basket of fruit! What misery for a painter who hates apples to be obliged to use them all the time because they go with the cloth! I put everything I love in my paintings. So much the worse for the things, they have only to arrange themselves with one another
Richard Friendenthal (1963, p. 256).
1930s, "Conversations avec Picasso," 1934–35
Quoted in: Paul Jones (2011), The Sociology of Architecture: Constructing Identities. p. 47.
Other explanation by Picasso of the Guernica.
Quotes, 1930's
Boisgeloup, winter 1934
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008
Quotes, 1930's, "Conversations avec Picasso," 1934–35
As quoted by Marius de Zayas, in 'The Arts', New York, May 1923
1920s, The Arts', New York, May 1923
Boisgeloup, winter 1934
Richard Friedenthal, (1963, p. 259)
Quotes, 1930's, "Conversations avec Picasso," 1934–35
Boisgeloup, winter 1934
Richard Friedenthal, (1963, p. 256).
Quotes, 1930's, "Conversations avec Picasso," 1934–35
Quote by old Picasso (1960's); as quoted in 'Matisse & Picasso', Paul Trachtman, Smithsonian Magazine, February 2003, p 1
1960s
Herschel Browning Chip (1968, p. 271).
1930s, "Conversations avec Picasso," 1934–35
Andre Malraux cites Picasso in: Anatoliĭ Podoksik, Marina Aleksandrovna Bessonova, Pablo Picasso (1989), Picasso: The Artists Work in Soviet Museums. p. 13.
Picasso talking about his discovery of African art.
Attributed from posthumous publications
Boisgeloup, winter 1934
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008
Quotes, 1930's, "Conversations avec Picasso," 1934–35
“When there's anything to steal, I steal”
Quoted in: Thought. Vol. 17 (1965). p. 154.
The magazine further commented:
Picasso's remark — "When there's anything to steal, I steal" — was fair warning to the competition. In modern art he has been, for years, the cock-of- the-walk, (The broody hens, one supposes, are also part of that picture.) But the book is valuable, primarily, for Picasso's observations about his own work and the work of others.
1960s
From Picasso, His Life and Work, Sir Roland Penrose, (1981), p. 413
Attributed from posthumous publications
Source: 1920s, "Picasso Speaks" (1923), p. 315
Paris 1923
As quoted by Marius de Zayas, in 'The Arts', New York, May 1923
Quotes, 1920's, "Picasso Speaks," 1923
“The glories, trumpets, palms… and low reliefs,… all that makes a monument.”
Les gloires, les trompettes, les palmes... et les bas-reliefs,... tout cela fait un monument.
Picasso (1952). Quoted in: Michael D. Garval (2004), "A Dream of Stone": Fame, Vision, and Monumentality in Nineteenth-century French Literary Culture. p. 226.
Picasso commented on the matter of the monument destruction in Paris.
Quotes, 1950's
Quoted in: Pierre Cabanne (1977), Pablo Picasso: His Life and Times, p. 268.
Quotes, 1970's
Boisgeloup, winter 1934
Richard Friedenthal, (1963, p. 258)
Quotes, 1930's, "Conversations avec Picasso," 1934–35
Paris 1923
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 312
Quotes, 1920's
Quoted in: The Artist, Vol. 93 (1978) p. 5.
1970s
“People who try to explain pictures are usually barking up the wrong tree.”
Quoted in Picasso on Art (1988), ed. Dore Ashton.
Attributed from posthumous publications
Quote in My Galleries and Painters, Daniel-Henry Kahnweiler, New York Viking Press, 1971, p. 46
Picasso in a talk c. 1955, with Daniel-Henry Kahnweiler
Quotes, 1950's
Source: 1920s, "Picasso Speaks" (1923), p. 319.
Herschel Browning Chip (1968, p. 267)
Other translation:
Formerly pictures used to move towards completion in progressive stages. Each day would bring something new. A picture was a sum of additions. With me, picture is a sum of destructions. I do a picture, then I destroy it. But in the long run nothing is lost; the red that I took away from one place turns up somewhere else.
Richard Friedenthal (1968, p. 256); Also quoted in: John Bowker (1988), Is anybody out there?: religions and belief in God in the contemporary world. p. 57.
1930s, "Conversations avec Picasso," 1934–35
Paris 1923
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 311
Quotes, 1920's
Source: 1920s, "Picasso Speaks" (1923), p. 323.
Richard Friedenthal, (1963, p. 260).
1930s, "Conversations avec Picasso," 1934–35
Boisgeloup, winter 1934
Richard Friedenthal, (1963, pp. 257-258).
Quotes, 1930's, "Conversations avec Picasso," 1934–35
“I was thinking about Casagemas's death that started me painting in blue.”
Quoted in Pierre Daix, La Vie de Peintre de Pablo Picasso, Paris: Editions du Seuil, 1977.
Picasso explained his friend Pierre Daix (around 1965), why he started painting in blue early around 1905. Picasso had made a portrait of Carles Casagemas in 1899.
1970s
Original: C’est en passant que Casagemas était mort que je me suis mis à piendre en bleu
Quote (1964); as quoted in Picasso and Company (trans. 1966) by Gyula Brassaï
1960s
“Drink to me. Drink to my health. You know I can't drink any more.”
Quoted in: Scott Slater, Alec Solomita (1980), Exits: stories of dying moments & parting words. p. 8.
Slater & Solomita (1980) explained:
"It was a spirited dinner and Picasso a cheerful, genial host. After the meal, while pouring wine into a friend's glass, Picasso said, Drink to me. Drink to my health. You know I can't drink any more. A little later, about 11:30 P.M., he left his guests, saying, And now I must go back to work. He was up painting until 3:00 A.M. That morning Picasso woke at 11:30, unable to move. By 11:40 he was dead..".
1970s
