Quotes of All Topics . Occasions . Authors
When you go back to the days when I was studying how to paint, some of the things that excited me most was to go into the Huntington Library and Gardens and to see the amazing pictures of the landed gentry.
Maybe some people, when they sit down to write their great novel or make their great record or paint their great painting, they have it all planned out in their head. But for me, it's never worked that way.
Death metal uses a lot of white face paint and black hair dye to make its point. I quite enjoy this genre for its intensity, extremism and underlying irony: You have to be alive to play it and listen to it.
For far too long we've allowed the other side to paint us as racist, as sexist, inhumane war mongers - well, today as a conservative black Republican and former solider, I'm here to set that record straight.
I find painting a much slower process than comedy, where you can go a mile a minute verbally and hope to God that some of the people out there understand you. I don't paint every day. I'm not that motivated.
When you read Chekhov, everything has an even gray tone. When you read 'Family Life', everything has an even white tone. It is almost like when you paint on paper, and you can see the paper through the paint.
I want to make beautiful paintings. But I don't make beautiful paintings by putting beautiful paint on a canvas with a beautiful motif. It just doesn't work. I expect my paintings to be strong and surprising.
I help out at Tall Trees, which my aunt set up on the Central Coast. It's where intellectually impaired young people can paint. Their artwork's sent to hospitals all over Australia to brighten up their rooms.
I say this in the spirit of feminist encouragement, but I think I'm pretty hot. I've got all the facial features, facing the right way, at the right end, and you can always paint over the bad bits with makeup.
When our daughter was born, a light went on for me - there was more to life than what I was doing. It felt like being famous for being a paint salesman. It wasn't the dream I was sold on. I'd had enough of it.
Most people think I do street art, so I do everything for nothing. I'm an urchin who paints walls and does work for nothing. That's the first misconception about street artists, that we just paint for nothing.
The U.N. must be a good steward of the funds entrusted to it. Abuse and waste are therefore not a mere public relations problem. Institutional reform is not a one-off event, like applying a fresh coat of paint.
The painter... does not fit the paints to the world. He most certainly does not fit the world to himself. He fits himself to the paint. The self is the servant who bears the paintbox and its inherited contents.
At the end of the day, if you're an actor, you want to act. And it's not something you can do in the living room alone. If you're a painter, you can paint at home. If you write music, you can write on your own.
The focus in the Western pictorial tradition is on the body of Christ, the bit you can paint, the Nativity and the infancy, but above all the Passion, where you can find images for every stage and every moment.
We rarely see cisgender heterosexual men in positions where they're nurturers. We only paint femmes, trans women, and cis women as nurturers, and because of toxic masculinity, men are taught not to be that way.
The ocean is 90% unexplored. It's a great canvas to paint Aquaman stories across, just like Green Lantern has space. It's more organic, which makes it different and interesting. It's alien, but it's terrestrial.
Science has proved that everything is energy, and now they have dark energy, dark matter. They don't call it all-embracing consciousness; they call it dark because they can't measure it. You know, paint it black.
I just don't think there are any rules to color. You have a small space with no windows? Put lamps in there, make it dramatic, paint the ceiling black. Do something with it. If it's dark, accentuate the darkness.
I take this art very seriously and passionately. I love what I do. You can't help but grow. That's not to say you don't make mistakes or make bad choices, but that's part of the art. Painters paint bad paintings.
When someone wants to freshen up their home a bit, and they don't want to spend a ton of money on construction, I always tell them to start off with paint. A fresh coat can really change the whole look of a home.
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.
Grottaglie itself is really famous for its figurative and 'splatter' paint ceramics - the figurative motifs are absolutely beautiful and the workshops in the town produce them all by hand so each design is unique.
I like watercolours. I like acrylic paint... a little bit. I like house paint. I like oil-based paint, and I love oil paint. I love the smell of turpentine and I like that world of oil paint very, very, very much.
My work is not about paint. It's about paint at the service of something else. It is not about gooey, chest-beating, macho '50s abstraction that allows paint to sit up on the surface as subject matter about paint.
My willingness to explore and work freely is not without risk, and at times, I find myself caught in a bind... Knowing I can fix whatever goes wrong allows me to paint, not without thought, but without hesitation.
There was no better entrance in history than The Ultimate Warrior. It was the greatest entrance between the music that had that guitar riff, and that face paint, and the tassels, and the gear. It was the greatest!
I'm from outside most of these worlds I'm focusing on, and I feel there's an ethical approach to making these kinds of films. My biggest fear is that if you paint your characters in, you could be doing them wrong.
There's something so inspiring about being in real locations, where you can feel the tactile qualities from the layer of paint that has been chipping off and the hundreds of years that have been lived in the space.
As opposed to putting too much confidence in myself, or in an image or a scene or a set of brushes, I really want to allow the oil paint to perform, to show me the things that it wants to do, beyond my imagination.
It takes two guys to tell a story, paint a picture, so our audience can be entertained and brought into the match. You need to suck people in emotionally to a match, and it takes both parties to paint that picture.
One of the great things that I loved about doing solo - which I ended up doing because I was too shy to ever try out for bands back in the day - I could sit there with a list of songs and 'paint away' for the show.
I had a quite unconventional childhood, in the sense that I traveled a lot and I went to 10 or 11 schools. I was completely confused academically, but wherever I went, I could paint. I painted an inordinate amount.
My broad sense of this is that authors like Smil really paint the clear picture, and once you see that, it's kind of Oh, of course. That's such a primal thing to all these physical services that we take for granted.
I'd love to paint our roof white - it's so hot down here in Texas! - and I'd love to have a rainwater collection system to save rain runoff for later. I also love to fantasize about keeping chickens in the backyard.
I think of makeup as more like a design, decoration, or jewelry. I mean, it's literally paint; it's art. I don't prefer to use it as concealing anything because it influences the illusion of standardized perfection.
If I was president, of course I'd want an amendment banning boy bands, but it just wouldn't be right, and I wouldn't do it. Then again... I don't want to paint myself into a corner on this one. Let me think about it.
An artist's initial broad stroke is always most impactful, and obsessively adding layer upon layer of paint to fill in details often diminishes the painting's aura. When an aura is lost, it is impossible to get back.
Daumier paints with an enormous capacity for absolute empathy; a complete identification of himself with the figures he paints. He sets forth what it feels like to do something; not what somebody looks like doing it.
I looked at one little print for a long time. It was called 'The Landing.' It showed men tugging on a rope, pulling a boat up onto skids out of the water. The thought occurred to me that I might paint such a picture.
I was an art student when I was a boy, and as an art student you don't have to talk to anyone - you just have to paint really wonderful paintings. It's very unlike being an actor, where you have to talk all the time.
The very formal, beautiful, composed order that I make with paint and color is freighted with objects, but like leaves falling from a tree onto a lawnmower below, the edges of this 'thing' have a certain serendipity.
I think if I tried very hard, I could do a novel or a play, a poem. I could possibly paint a picture, but I know I can't write music. And still, it is the most accessible of all arts, as you know when you hear a tune.
Just give us 50 years where we're the only ones who are allowed to profit from art, and then you can do whoever you want. In fact, I'll buy you the paint. Whatever you want. Just give us 50 years. 50 years. That's it.
I paint. I have been painting since I was kid. If I hadn't gone into radio when I did, I probably would have come out of the Army, gone into the art business, and probably would have flopped because I'm not that great.
I think that technology has both introduced new sounds but also allowed an increasingly painterly approach to recording music as you can now paint over what you've done and more and more refine an existing performance.
Appeles us'd to paint a good housewife upon a snayl; which intimated that she should be as slow from gadding abroad, and when she went she should carry her house upon her back; that is, she should make all sure at home.
I'm always going to take an experience and a fire beat and marry it all together with adult melodies. I try to paint, just like Frank Ocean paints with his lyrics. I try in similar ways to paint my life into these songs.
I don't want to paint everybody with the same broad brush. But I do think that the majority of folks now in the briefing room, that are going into journalism - they're not there for the facts and the pursuit of the truth.
I paint on the ground. I paint with sticks, with big paint cans, and whatever else falls in it. Basically, what I'm doing is capturing unbridled emotion and putting it on canvas. It's like capturing lightning in a bottle.