1
" I was also, slowly, to learn that there were painters whom you grew out of (like the Pre-Raphaelites); painters you grew into (Chardin); painters towards whom you had a lifelong, sighing indifference (Greuze); painters you suddenly became aware of after years of unnoticing (Liotard, Hammershoi, Cassatt, Vallotton); painters assuredly great but to whom your response was always a bit negligent (Rubens); and painters who would, whatever age you were, remain persistently, indomitably great (Piero, Rembrandt, Degas). And then – perhaps the slowest advance of all – I permitted myself to believe, or rather see, that not all Modernism was entirely wonderful. That some parts of it were better than others; that maybe Picasso could be vainglorious, Miró and Klee could be twee, Léger could be repetitive, and so on. I eventually came to realise that Modernism had strengths and weaknesses and a built-in obsolescence, just like all other art movements. Which, as it happens, made it more rather than less interesting. "
― Julian Barnes , Keeping an Eye Open: Essays on Art
2
" Flaubert believed that it was impossible to explain one art form in terms of another, and that great paintings required no words of explanation. Braque thought the ideal state would be reached when we said nothing at all in front of a painting. But we are very far from reaching that state. We remain incorrigibly verbal creatures who love to explain things, to form opinions, to argue. Put us in front of a picture and we chatter, each in our different way. Proust, when going round an art gallery, liked to comment on who the people in the pictures reminded him of in real life; which might have been a deft way of avoiding the direct aesethetic confrontation. But it is a rare picture that stuns, or argues, us into silence. And if one does, it is only a short time before we want to explain and understand the very silence into which we have been plunged. "
― Julian Barnes , Keeping an Eye Open: Essays on Art
3
" Valéry held up Cézanne as ‘the example of the dedicated life’. Alex Danchev, in his new biography1, calls him ‘the exemplary artist-creator of the modern age’. An example more powerful than that of the artist who throws it all up (Gauguin found the voluptuous consolations of Tahiti in work and play; Rimbaud made good money as an arms trader), or the artist who goes mad and/or kills himself. More powerful because continuing to live can require more heroism than suicide: the constant work, constant striving, the frequent destruction of unsatisfactory work, and the need, as Cézanne saw it, for an incorruptibility in the life, on which incorruptibility of the work depended. "
― Julian Barnes , Keeping an Eye Open: Essays on Art
