My whole life has been nothing more than a continuous struggle against Reaction and the death of art.
Pablo PicassoRead
Matisse makes a drawing, then he makes a copy of it. He copies it five times, ten times, always clarifying the line. He’s convinced that the last, the most stripped down, is the best, the purest, the definitive one; and in fact, most of the time, it was the first. In drawing, nothing is better than the first attempt.
Interpretation
The quote emphasizes the value of initial creativity over repeated alterations.
Pablo Picasso highlights the artistic process as one where the initial attempt often encapsulates the purest form of expression. He discusses how Matisse's method of refining his drawings through multiple copies often leads back to the strength of the original work, suggesting that sometimes the first instinct or creation holds the most authenticity and clarity.
In practice
This quote can be used in an art class to inspire students to trust their initial sketches.
My whole life has been nothing more than a continuous struggle against Reaction and the death of art.
Painting is just another way of keeping a diary.
In drawing, nothing is better than the first attempt.
He can who thinks he can, and he can't who thinks he can't. This is an inexorable, indisputable law.
You have to have an idea of what you are going to do, but it should be a vague idea.
I paint the way someone bites his fingernails; for me, painting is a bad habit because I don't know nor can I do anything else.
Google the name Prometheus, and see how often it has been given to innovations in many different fields, notably science, medicine and space exploration. The fire he stole can be seen, too, as the spark generating all artistic creativity.
I've always had great satisfaction out of writing the plays. I've not always had great satisfaction out of seeing them produced-although often I've had satisfaction there. When things go well in production, on opening there's no nicer feeling in the world-what could be nicer than watching an audience respond? You can't that from a book. It's a fine feeling to walk into the theater and see living people respond to something you've done.
When people ask me if I went to film school I tell them, 'no, I went to films.'
I'm trying to discover - invent, I suppose - an architecture, and forms of urban planning, that do something of the same thing in a contemporary way. I started out trying to create buildings that would sparkle like isolated jewels; now I want them to connect, to form a new kind of landscape, to flow together with contemporary cities and the lives of their peoples.
the poems to come are for you and for me and are not for mostpeople... you and i are human beings; mostpeople are snobs.
Ideas aren't real estate, they grow collectively and that knocks out the egotistical loneliness that generally infects art.
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