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Limited means often constitute the charm and force of primitive painting. Extension, on the contrary, leads the arts to decadence.
Georges Braque
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Georges Braque
Age: 81 †
Born: 1882
Born: May 13
Died: 1963
Died: August 31
Collagist
Designer
Draftsperson
Engraver
Graphic Artist
Jewelry Designer
Lithographer
Painter
Printmaker
Scenographer
Sculptor
George Braque
G. Braque
S Braque
geo. braque
george braque
Braque
geo braque
George B.
Force
Primitive
Means
Charm
Limited
Often
Arts
Art
Leads
Decadence
Mean
Contrary
Constitute
Morality
Extension
Painting
Extensions
More quotes by Georges Braque
With age, art and life become one.
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In a painting, what counts is the unexpected.
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Emotion should not be rendered by an excited trembling it can neither be added on nor be imitated. It is the seed, the work is the flower.
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Art disturbs, science reassures.
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When objects shattered into fragments appeared in my painting about 1909, this for me was a way of getting closest to the object... Fragmentation helped me to establish space and movement in space.
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Colour could give rise to sensations which would interfere with our conception of space.
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Work to perfect the mind. There is no certitude but in what the mind conceives.
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We will never have repose. The present is perpetual.
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The painter thinks in terms of form and color. The goal is not to be concerned with the reconstitution of an anecdotal fact, but with constitution of a pictorial fact.
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When one reaches this state of harmony between things and one's self, one reaches a state of perfect freedom and peace-which makes everything possible and right. Life becomes perpetual revelation.
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Truth exists, only falsehood has to be invented.
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There is only one valuable thing in art: the thing you cannot explain.
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Art is made to trouble but science reassures.
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It is not sufficient that what one paints should be made visible. It must be made tangible.
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To define a thing is to substitute the definition for the thing itself.
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Poetry' is what distinguishes the cubist paintings Picasso and I arrived at intuitively from the lifeless sort of painting those who followed us tried, with such unfortunate results, to arrive at theoretically.
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You put a blob of yellow here, and another at the further edge of the canvas: straight away a rapport is established between them. Colour acts in the way that music does.
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Perspective is a ghastly mistake which it has taken four centuries to redress.
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One has to arrive at a specific temperature, at which the objects become malleable.
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Painting is a nail to which I fasten my ideas.
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