Quotes of All Topics . Occasions . Authors
I have a strange relationship with influences because mine are mostly literary or painters or poets, who I'll even quote. I don't do tributes to cinema.
All those crazy Impressionist painters in France were friends but they would write about how jealous and competitive they were. That's what makes good art.
I'm very happy to hear that my work inspires writers and painters. It's the most beautiful compliment, the greatest reward. Art should always be an exchange.
At the beginning of the 20th century, the ambition of the great painters was to make paintings that were like music, which was then considered as the noblest art.
I believe that the great painters with their intellect as master have attempted to force this unwilling medium of paint and canvas into a record of their emotions.
You just gotta record stuff and move on and make new material. Painters don't wait until they're in some specific gallery before they move on to the next painting.
Painters were also attorneys, happy storytellers of anecdote, psychologists, botanists, zoologists, archaeologists, engineers, but there were no creative painters.
It is this research into pure painting that is the problem at the present moment. I do not know any painters in Paris who are really searching for this ideal world.
I always say Philadelphia, Pennsylvania is my biggest influence. But for painters, I like many, many painters, but I love Francis Bacon the most, and Edward Hopper.
The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.
Few of the early houses in New England were painted, or colored, as it was called, either without or within. Painters do not appear in any of the early lists of workmen.
The history of American art, in a way, begins with Jackson Pollock and his big paintings. This theme of bigness - all painters and sculptors have dealt with it ever since.
I always thought that one of the reasons why a painter likes especially to have other painters look at his or her work is the shared experience of having pushed paint around.
My father's parents were carpenters. They were also builders partly. They were painters. And several of them were very, active in the theatre and all such nonsense, you know.
I love art, and it plays a huge role in my life. It's definitely one of my greatest joys, and I'm a bit fanatical about certain painters and poets and musicians and sculptors.
Writers need their totems, their altars. Mine, I feel, share the same randomness and utility of those belonging to painters I know, who are relentlessly visual and even poetic.
Many Japanese painters and calligraphers would change their names intentionally to keep their relationship to the art always fresh. This way, others' expectations can be avoided.
I do not think men have more talent. There are a great many women in the arts; novelists, painters, sculptors, poets-but the proportion is far lower in the field of song writing.
It's the duty of all novelists, all painters, all musicians, all people who try to make art move: to look for something they feel authentically, without paying attention to styles.
I have tons of regrets, but I think that's one of the reasons that push people to create things. Out of their angst, their regret, comes the best from artists, painters and writers.
Stories in which the destruction of society occurs are explorations of social fears and issues that filmmakers, novelists, playwrights, painters have been examining for a long time.
Even if we didn't make records, we would have done it on the side for fun. Like, some painters sell their work; others just keep it - they love to do it whether they get paid or not.
I've been trekking the hills and lanes of the British countryside for nearly four decades now and I've come to associate my passion with overexcited poets rather than pampered painters.
Painters, especially American painters since the Second World War, have been much more troubled, beset by formal perplexity, than American writers. They've been a laboratory for everybody.
It is not the language of painters but the language of nature which one should listen to, the feeling for the things themselves, for reality is more important than the feeling for pictures.
The cult of individuality and personality, which promotes painters and poets only to promote itself, is really a business. The greater the 'genius' of the personage, the greater the profit.
We are all sculptors and painters, and our material is our own flesh and blood and bones. Any nobleness begins at once to refine a man's features, any meanness or sensuality to imbrute them.
Painters have always needed a sort of veil upon which they can focus their attention. It's as though the more fully the consciousness is absorbed, the greater the freedom of the spirit behind.
San Francisco has long been a leader in the arts, nurturing generations of painters, sculptors, poets, novelists, playwrights, film-makers, and performing artists and innovators of every kind.
I write about art out of gratitude to painters for the joy and spiritual uplift they have given me. Painters interpret for us the visual glories of God and, in this way, bring us closer to Him.
Painters who do self-portraits are engaging in a form of narcissism. But it doesn't work like that in movies. A truly narcissistic person wouldn't go into filmmaking because it's just too tiring.
Two of my grandfathers had been artists, lifelong oil painters, so I was exposed to art very young. I've always been interested in it, although I never pursued it as a career or even as an avocation.
Latin America seemed to be a land where there were only dictators, revolutionaries, catastrophes. Now we know that Latin America can produce also artists, musicians, painters, thinkers, and novelists.
Playwrights have texts, composers have scores, painters and sculptors have the residue of those activities, and dance is traditionally an ephemeral, effervescent, here-today-gone-tomorrow kind of thing.
Architects, sculptors painters, we all must return to the crafts! For art is not a 'profession.' There is no essential difference between the artist and the craftsman. The artist is an exalted craftsman.
Writers and painters alike are in the business of consulting their own imaginations, and stimulating the imaginations of others. Together, and separately, they celebrate the absolute mystery of otherness.
Electronic musicians are quite like writers or painters. They are quite isolated in their home studios. We often don't have that the opportunity to collaborate with that many people, like in rock or jazz.
At Sarah Lawrence, I realized that everybody was already what they were going to be. The painters were painting, the writers writing, the dancers dancing. And nobody wore any makeup. The art was uppermost.
It's a marvellous life, a gregarious life that we've had. We're very lucky in that way. Unlike writers or painters, we don't sit down in front of a blank canvas and say, 'How do I start? Where do I start?'
The lovely thing about being an actor is being anonymous, it's never having to explain yourself. And that's what I find interesting about actors or painters I admire. I don't want to know about their lives.
Painting is a field that attracts a lot of lazy people. You can just sort of sit and wait for things to come to you. I know a lot of painters who'll sit and chat it up all night. But God, I just can't do that.
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.
Artists - musicians, painters, writers, poets - always seem to have had the most accurate perception of what is really going on around them, not the official version or the popular perception of contemporary life.
I am into drones and one chord freak outs and the paintings I am into are more minimal things the New York colour field painters and the soviet schools of the early/mid 20th century suprematism and constructionism.
I had always loved Haitian art, but I stumbled onto Haiti quite by accident. I went there on vacation after finishing a movie called 'The Delta Factor,' and I met lot of painters and fell in love with their folk art.
The men resent a woman getting any honour in what they consider is essentially their field. Men painters mostly despise women painters. So I have decided to stop squirming, to throw any honour in with Canada and women.
When younger writers and poets, musicians and painters are weakened by a stemming of funds, they come to me saddened, not as full of dreams and excitement and ideas. I am then weakened and diminished, and made less rich.
A lot of painters listen to music, I think, while they paint. But I hate to do that. It's a horror. I can't really listen to the music. I'm not really concentrating on it, and I'm not really concentrating on the painting.
Painters hate having to explain what their work is about. They always say, 'It's whatever you want it to be' - because I think that's their intention, to connect with each person's subconscious, and not to try and dictate.
Art was a way of life in my family. My grandfather, N.C. Wyeth, who died a year before I was born, had been a prominent painter. So was my father, Andrew. My two aunts and two of my uncles also earned a living as painters.