It is not your paintings I like, it is your painting.
Interpretation
The quote expresses an appreciation for the essence of an artist's work rather than just the individual pieces they create.
In this quote, Albert Camus emphasizes the deeper connection to the artist's unique perspective and expression found in their work as a whole, rather than a mere admiration of singular paintings. It suggests that the intrinsic value lies in the cumulative experience of the artist's vision rather than isolated works.
In practice
This quote can be used in an art critique session to emphasize the importance of an artist's overall style.
The Poor Man whom everyone speaks of, the Poor Man whom everyone pities, one of the repulsive Poor from whom charitable souls keep their distance, he has still said nothing. Or, rather, he has spoken through the voice of Victor Hugo, Zola, Richepin. At least, they said so. And these shameful impostures fed their authors. Cruel irony, the Poor Man tormented with hunger feeds those who plead his case.
The certainty of a God giving meaning to life far surpasses in attractiveness the ability to behave badly with impunity. The choice would not be hard to make. But there is no choice and that is where the bitterness comes in. The absurd does not liberate; it binds.
Between history and the eternal I have chosen history because I like certainties. Of it, at least, I am certain, and how can I deny this force crushing me.
Don't wait for the last judgment - it takes place every day.
A single sentence will suffice for modern man. He fornicated and read the papers. After that vigorous definition, the subject will be, if I may say so, exhausted.
At times I feel myself overtaken by an immense tenderness for these people around me who live in the same century.
When I see a story, I ask: is this something I'd like to be in? Is this something I'd like to see? And if I'd like to see it, would I like to tell it?
I want to create a world with objects and surroundings that are human, more romantic, and less sterile.
Study, find all the good teachers and study with them, get involved in acting to act, not to be famous or for the money. Do plays. It's not worth it if you are just in it for the money. You have to love it.
Don't write stage directions. If it is not apparent what the character is trying to accomplish by saying the line, tell us how the character said it or whether or not she moved to the couch isn't going to aid the case.
And if you can find out something about the laws of your own growth and vision as well as those of photography you may be able to relate the two, create an object that has a life of its own, which transcends craftsmanship. That is a long road, and because it must be your own road nobody can teach it to you or find it for you. There are no shortcuts, no rules.
'Art or anti-art?' was the question I asked when I returned from Munich in 1912 and decided to abandon pure painting or painting for its own sake. I thought of introducing elements alien to painting as the only way out of a pictorial and chromatic dead end.
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