Chaim Soutine

“I think I would choose Chaim Soutine.. .I've always been crazy about Soutine - all of his paintings. Maybe it's the lushness of the paint. He builds up a surface that looks like a material, like a substance. There's a kind of transfiguration, a certain fleshiness in his work.. .I remember when I first saw the Soutine’s in the Barnes Collection.. ..the Matisse's had a light of their own, but the Soutine's had a glow that came from within the paintings - it was another kind of light.”

“He [Soutine] was one of the rare examples in our day.. ..a painter who could make his pigments breathe light. It is something which cannot be learned or acquired. It is a gift of God.”

“Soutine painted rapidly. He nurtured his idea for several months and then, when ready, started the painting in fury. He worked with passion, with fever, in a trance, sometimes to the music of some Bach fugue that he played on a phonograph. Once he finished the painting, he was weak, depressed, wiped out.”

“There are some who believe that Soutine deforms his paintings just to deform. That is a grave error. He himself suffers in front of these formless canvases where his marvelous universal staggers like his own insides. At home, he lacerates his paintings in rage. At the dealers, he buys them back to take them away and destroy them.”

“Ah, the giant that is Rembrandt; he's God, he's God!”

“I want to show Paris in the carcass of an ox.”

“Dear Mrs. Castaing, please come over after midday at 2 o'clock with a white dress without sleeves in order to pose. Because today I will not go to Mrs. Saxe. I am disgusted to do nothing at all.”

“..My paintings are a heap of shit, but better than Modigliani, Marc Chagall, and Krémènge [a Russian companion painter]. Some day I will destroy my canvases, but they are too cowardly to do it.”

“You have no right to interfere with my art. Your wife is not your property. I need her, in order to finish my picture, I must have her! I will sue you! [the woman returned by persuasion of the Castaings who supported Soutine].”

“You don't like my painting, you only want to help me. If you had given me one franc for my picture I would have taken it [when M. Castaing discovered his art for the very first time and offered him in advance 100 franc to make a new painting - circa 1917 – 1919]”

“Once I saw the village butcher [in his youth, in Russia] slice the neck of a bird and drain the blood out of it. I wanted to cry out, but his joyful expression caught the sound in my throat.. .This cry, I always feel it there. When, as a student I drew a crude portrait of my professor, I tried to rid myself of this cry, but in vain. When I painted the beef carcass it was still this cry that I wanted to liberate. I have still not succeeded. [remark to his friend and biographer]”

“I never touched Cubism myself, you know, although I was attracted by it one time. When I was painting at Céret and at Cagnes [1919, and from 1923]. I yielded to its influence in spite of myself, and the results were not entirely banal. But then.. .Céret itself is anything but banal. There is so much foreshortening in the landscape that, for that very reason, a picture may seem to have been painted in some specific style [quote in 1927].”