Pierre Berge Quotes

Love is what makes me live, quite simply. It's the only thing that makes me work. It made me become what I am today.

I won't make a mark on history. I have some importance in the time we live in, but that's all.

Chanel liberated women: Saint Laurent gave them power.

Yves Saint Laurent hated fashion. He loved style.

There's nothing that really motivates me anymore and demands that I get up in the morning. In the past it was Yves Saint Laurent.

I hate nostalgia. Today is always better than yesterday.

I am a man who has spent more than half a century ostensibly and visibly accompanying Yves Saint Laurent throughout his life - but not only that. In the past and still today, I have been behind a lot of creators and artists, supporting them and helping them. That's probably how I see my mission.

You don't spend every day saying, "Gosh! That's so beautiful." Sometimes you look at an object more attentively and see it anew. I won't talk of any one object in particular. For me there is no hierarchy in art. Things have an inherent quality or they don't.

I hate sentiment when it's inappropriate. I saw someone who went and saw an exhibition and came out in tears. If an exhibition drives you to tears you need to see a psychiatrist immediately. That's what I think.

I am faithful up to the point of death. It's the only thing I respect. I never abandon anyone. I'm not talking about sexual relations. I'm faithful in my friendship, my admiration.

I never abandoned Yves Saint Laurent. I used to have lunch with him twice a week. I also saw him every Saturday. My presence beside him was even more important in his bad times. But that didn't leave me a great deal of room in which to maneuver. Freedom is an intellectual space. But I don't use it.

A collection is like a dinner party. It is made up of the people you invite, but also the people you don't.

The problem with Yves Saint Laurent was that he was a man who understood his time period better than anyone, but he didn't like it. Real artists live their own lives in parallel. It's the artist who transforms his times.

In April 2007 I learned that Yves Saint Laurent had a brain tumor, and he died on June 1, 2008. During those 14 months I had plenty of time to think about what would happen. There was only one solution: the auction. An auction establishes memory. That's what I want to do.

I'm not an ascetic and please don't use the word zen, which is so lightly bandied about these days. Being zen . . . It's shameful to talk in such a way. I haven't become an ascetic but I'm not going to build up another collection. I'm going to create my new environment. I already know what I want.

I met Andy Warhol in the '60s, a wonderful time, with wonderful people. There was Fred Hughes, and Jed Johnson, who I liked a lot. Jed Johnson decorated my apartment in New York, at the Pierre. It was his first job.

On my own account I certainly wouldn't have become the director of a couture house. I didn't have sufficient admiration for fashion as such to have done so.

Geographically speaking, I was born on a French island - the île d'Oléron. Otherwise, I come from a milieu where culture was of the utmost importance. I learned music even before I learned to read. I always read books beyond my years.

Loving dogs is a question of anthropomorphism. We become attached to dogs because of the feelings we project on them.

Let's talk about that for a moment, about the couple that Yves Saint Laurent and I were. Like all couples we went through "storms," as the Jacques Brel song says. But if there's one area where we never had the slightest disagreement, it was art. Never. Not once. Not about painting, not about opera, not about theater. We were always in complete communion. Of course, that's how all of the collection came into being.

I've already bought another house in Tangier and the one in Deauville has been for sale for some time. As for Yves's Saint Laurent apartment, it is being sold because he's dead. But I won't be furnishing my home from Ikea.

When journalists come to interview me, it's a part of my life that is exhibited, as if pieces of clothing are being taken off one by one. But it's not very important really.

I love Marcel Proust, but I leave him to his nostalgia. I don't approach art the way most people do. I don't get into Proust by imagining that I am Charlus or whoever. It's the same thing in painting - I try to look at it objectively. There's no pathos in that. It's like Bach's "Goldberg Variations." They have to be approached with a scalpel.

I carried on buying paintings, works of art, and Yves Saint Laurent, if I may say so, had a right of inspection. We even shared a common reading of the history of art. It would never have crossed Yves's mind to say to me, "Ah, I saw a Pablo Picasso . . ." He knew perfectly well what was interesting with Picasso, as did I.

There was an exchange between me and Andy Warhol. We met, we liked each other, we appreciated each other. He would come to us for Easter in Marrakech. In September we would meet up in Venice. And every time I went to New York I would spend some time with him at the Factory, where we would have dinner together. He's a man that I admired deeply. He shook up the notion of painting - not as much as Marcel Duchamp had done, but he was part of the same general movement. And then we both admired art deco.

I had a Vincent van Gogh, a small Provençal landscape. We sold it. If you're going to have a van Gogh it should be a really good van Gogh.

You don't own art. What does that mean? We are trustees of art. Art is in transit with us. That is why an auction is a wonderful thing. You clap your hands and the objects fly away like doves and find other places where they will be protected, loved. That's what I believe.

At the age of 9, I read David Copperfield by Dickens. At 14, I read War and Peace by Tolstoy. They're both books I have reread regularly since.