Zitat des Tages über Picasso:
Let's look at people as artists and try to support them; just because Picasso painted a couple of bad paintings, that's no reason to say he's a lousy painter.
My heroes were Dylan, John Lennon and Picasso, because they each moved their particular medium forward, and when they got to the point where they were comfortable, they always moved on.
Turns out Picasso's passion for uncertainty, mystery, and the thrill of life never ended.
You don't have to be Picasso or Rembrandt to create something. The fun of it, the joy of creating, is way high above anything else to do with the art form.
To model yourself after Steve Jobs is like, 'I'd like to paint like Picasso, what should I do? Should I use more red?'
When Picasso painted in Paris, was he a Spanish or a French painter? It does not matter, he was Picasso, whatever the influences surrounding him. He simply chose Paris because it was the ideal place for him to sell his creation.
Everything will be all right - you know when? When people, just people, stop thinking of the United Nations as a weird Picasso abstraction and see it as a drawing they made themselves.
It took the Metropolitan Museum of Art nearly 50 years to wake up to Pablo Picasso. It didn't own one of his paintings until 1946, when Gertrude Stein bequeathed that indomitable quasi-Cubistic picture of herself - a portrait of the writer as a sumo Buddha - to the Met, principally because she disliked the Museum of Modern Art.
Picasso once remarked I do not care who it is that has or does influence me as long as it is not myself.
Hollywood is like Picasso's bathroom.
More than anything else, I'd like to be an old man with a good face, like Hitchcock or Picasso.
Our artistic heroes tend to be those self-exercisers, like Picasso, and Nabokov, and Wallace Stevens, who rather defiantly kept playing past dark.
I wanted to paint in a folk-artist-y way. My heroes were Van Gogh, Gauguin, Matisse, and Rembrandt. I think Picasso is about as a modern as I got. But I incorporated things that they rejected as well as movements that happened later.
I came down successfully through Picasso and Braque, down through Pollock, I guess, but I began to stop at Franz Kline and the Abstractionists. I like their design, brilliant design, marvelous color layers. But I don't find any human content there. I'm from an old school, and painting has to have human content for me.
That freedom that Picasso afforded himself, to be an artist in a huge number of ways, seems to be a huge psychological liberation.
What a model of an artist was for me was an artist who worked. Picasso was the ultimate model, because the work ethic he had.
A highbrow is the kind of person who looks at a sausage and thinks of Picasso.
If I could have any artist's work on my sitting room wall it would probably be by Van Gogh or Picasso.
Computers let people avoid people, going out to explore. It's so different to just open a website instead of looking at a Picasso in a museum in Paris.
I went to the big Picasso retrospective at the Tate in the sixties, and I think I went to an Andy Warhol retrospective at the Tate in the sixties, too. My mother was very good at taking me to things like that. We lived in Reading, but we went on these cultural trips to London.
My core is grime. But I make all kinds of music. Take Picasso. He could paint whatever way he liked. He could do a little ting with a felt tip if he wanted to - it's still going to be a bad boy Picasso at the end.
I think Picasso was someone who took art's powers of consuming, its powers of much-ness and multiplicity, and used that to his fullest extent. That's something that was permitted to men, obviously, much more than women, but was also permitted in the past much more often than now.
I think Picasso was, without doubt, the greatest portraitist of the 20th century, if not any other century.
'Le Reve' may be one of the three best pictures Pablo Picasso ever painted.
I love what Monet, Picasso, Van Gogh and Jesus all said - that love is really the driving principle of the creative act. In fact, they would say that great art is always inspired by love.
Picasso's always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.
Can a great artist be mean-spirited, grasping, harsh to his family, violent in his emotions, vindictive in his hatreds, an all-purpose scoundrel? If our test cases are the likes of Wagner, Picasso, and, let me say, Dickens, the answer is a resounding yes.
Picasso is what is going to happen and what is happening; he is posterity and archaic time, the distant ancestor and our next-door neighbor. Speed permits him to be two places at once, to belong to all the centuries without letting go of the here and now.
There is a relationship between cartooning and people like Mir= and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney.
Nobody taught Picasso how to paint - he learned for himself. And nobody can teach you to be a producer. You can learn the mechanics, but you can't learn what's right about a script or a director or an actor. That comes from instinct and intuition. It comes from inside you.
Raising a child is a little like Picasso's work; in the beginning he did very conventional representational things. Cubism came after he had the rules down pat.
Most artists never get a chance to be Picasso, but that doesn't mean you would stop painting.
I was going to have cosmetic surgery until I noticed that the doctor's office was full of portraits by Picasso.
I think my most famous was 'Poco's Legend.' It's a white album with a simple line drawing of a horse. It almost has a Picasso feel to it. I remember that Rusty Young, the lead singer of the band, said, 'I want you to draw a horse for the song 'Legend,' which is about a phantom spirit horse. I want you to do it in several lines.'
My mother said to me, 'If you are a soldier, you will become a general. If you are a monk, you will become the Pope.' Instead, I was a painter, and became Picasso.
A high-brow is someone who looks at a sausage and thinks of Picasso.