He told me that from now on, everything I did and everything he did was of the utmost importance: any word spoken, the slightest gesture, would take on a meaning, and everything that happened between us would change us continually. 'For that reason,'he said,'I wish I were able to suspend time at this moment and keep things exactly at this point, because I feel this instant is a true beginning. We have a definite but unknown quantity of experience at our disposal. As soon as the hourglass is turned, the sand will begin to run out and once it starts, it cannot stop until it's all gone. That's why I wish I could hold it back at the start. We should make a minimum of gestures, pronounce a minimum of words, even see each other as seldom as possible, if that would prolong things. We don't know how much of everything we have ahead of us so we have to take the greatest precautions not to destroy the beauty of what we have. Everything exists in limited quantity-especially happiness. If a love is to come into being, it is all written down somewhere, and also its duration and content. If you could arrive at the complete intensity the first day, it would be ended the first day. And so if it's something you want so much that you'd like to have it prolonged in time, you must be extremely careful not to make the slightest excessive demand that might prevent it from developing to the greatest extent over the longest period...If the wings of the butterfly are to keep their sheen, you mustn't touch them. We mustn't abuse something which is to bring light into both our lives. Everything else in my life only weighs me down and shuts out the light. This thing wih you seems like a window that is opening up. I want it to remain open...
Françoise GilotMots clés love time relationships picasso
You see, for me a painting is a dramatic action in the course of which the reality finds itself split apart. For me, that dramatic action takes precedence over all other considerations. The pure plastic act is only secondary as far as I'm concerned. What counts is the drama of that plastic art, the moment at which the universe comes out of itself and meets its own destruction.
Françoise GilotMots clés creation painting picasso
What interests me is to set up what you might call the rapport de grand écart - the most unexpected relationship possible between the things I want to speak about, because there is a certain difficulty in establishing relationships in just that way, and in that difficulty there is an interest, and in that interest there is a certain tension and for me that tension is a lot more important than the stable equilibrium of harmony, which doesn't interest me at all. Reality must be torn apart in every sense of the word. What people forget is that everything is unique. Nature never produces the same thing twice. Hence my stress on seeking the rapport de grand écart: a small head on a large body; a large head on a small body. I want to draw the mind in the direction it's not used to and wake it up. I want to help the viewer discover something he wouldn't have discovered without me. That's why I stress the dissimilarity, for example, between the left eye and the right eye. A painter shouldn't make them so similar. They're just not that way. So my purpose is to set things in movement, to provoke this movement by contradictory tensions, opposing forces, and in that tension or opposition, to find the moment which seems the most interesting to me.
Françoise GilotMots clés picasso reality-of-a-painting
Nisam vjerovao u slikarstvo za "izabrane". Uvijek sam osjećao da slika mora pobuditi nešto i kod onoga tko je ne običava inače gledati, kao što Moliere uspijeva nasmijati vrlo inteligentnog čovjeka, kao i onoga koji ništa ne razumije. Shakespeare također. I u mom radu, jednako kao i u Shakespeareovom, često se mogu susresti burleskne stvari, relativno čak i vulgarne.Na taj način mogu svakome biti dostupan. To nije zbog toga što bih želio dobrodošlicu publike, već što želim doprijeti do svakog stupnja mišljenja.
Françoise GilotVelika većina ljudi ne poseduje u sebi nimalo izumiteljskog ili kreativnog duha. Kao što Hegel kaže, oni mogu znati samo ono što već znaju. I na koji način ih naučiti nečem novom?
Miješanjem onoga što znaju, s onim što ne znaju. Kad u svojoj magli ugledaju neke poznate obrise, oni pomišljaju : Ah, znam što je to.
A od toga je samo jedan korak do : - Ah, znam što sve to predstavlja!
I njihov se um usmjeruje u pravcu nepoznatog i oni počinju sagledavati ono što ranije nisu mogli, što proširuje moć njihova razumijevanja.
Pablo bijaše uvijek zaokupljen ljubavnom postojanošću Aragona i Else. Činilo se da naročito s Aragonove strane postoji potpuna odanost, gotovo kult u kome ona bijaše boginja ljubavi. Razgovarao je o tome s Aragonom, kad bi on došao bez Else.
- Kako možeš uvijek voljeti istu ženu?-upita ga Pablo jednog dana- Konačno,ona se mijenja kao i sve drugo i postaje stara.
- Upravo tako-odvrati Aragon. - Ja volim sve te male promjene. One mi gode. A volim i jesen u žene.
It's ludicrous to even talk about (Marquis) de Sade, let alone indulge in all that, when people are being tortured and suffering for real, not for sexual games. I have no interest either in being a victim or in turning others into victims.
Françoise GilotMots clés picasso-creator-and-destroyer
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