Quotes of All Topics . Occasions . Authors
I have to go with what the painting says to me. The painting is always informing me. I'm its servant; it's not mine. I'm doing what it wants.
Do console your poor friend, who is so troubled to see his paintings so miserable, so sad, next to the radiant nature he has before his eyes!
Painting is an unspoken and largely unrecognized dialogue, where paint speaks silently in masses and colors and the artist responds in moods.
The paintings may communicate even better because people are lazy and they can look at a painting with less effort than they can read a poem.
My interest in painting is recording things. I think of myself as almost a documentary filmmaker... I've gotten into some curious situations.
I don't understand it. Jack will spend any amount of money to buy votes but he balks at investing a thousand dollars in a beautiful painting.
Turning one's novel into a movie script is rather like making a series of sketches for a painting that has long ago been finished and framed.
The edge in modern painting is charged with neurosis; it meets a world that no longer confirms it but which is hostile or at best indifferent.
I no longer worry whether a painting is about something or not. I am only concerned with the expectation, from a flat surface, of an illusion.
I'm painting so much that I don't listen to much music. Because music is another creative outlet, it's a huge distraction for me when I paint.
Once my paintings are complete, the model no longer lives in the painting as themselves. I see something bigger, more symbolic - an archetype.
I wanted to show painting paintings first, then the plate paintings; now I can show that I've sort of freed myself from stylistic inhibitions.
The paintings each take several months to do and it's quite a cathartic and intense experience that's very pleasurable, but also very strange.
Painters... are the most lively observers of what passes in the world about them, and the closest observers of what passes in their own minds.
I know for sure that I have an instinct for color, and that it will come to me more and more, that painting is in the very marrow of my bones.
If I don't have anything better to do that day, I'll copy paintings, generally by people who have some relationship to the work of the moment.
I think we all ought to be careful about too much generalization on this issue, even as I confess to painting with a pretty broad brush myself!
I was very interested in being a painter. I had facility, I had talent, and I loved painting and printmaking, and I was quite serious about it.
Most painting in the European tradition was painting the mask. Modern art rejected all that. Our subject matter was the person behind the mask.
My work since the late '80s specifically questioned what was presented as the "natural" order of things in the history of post war NY painting.
The time that I devote to painting is not a lot of time, but I do it 100 percent while I am working, and then there's nothing else that counts.
I am out to introduce a psychic shock into my painting, one that is always motivated by pictorial reasoning: that is to say, a fourth dimension.
Ah, lives of men! When prosperous they glitter - Like a fair picture; when misfortune comes - A wet sponge at one blow has blurred the painting.
When I get intimate with my paintings, it's a real good spiritual thing to get off my chest. Same as playing the instruments is a great release.
Painting is consequently an almost blind, desperate effort, like that of a person abandoned, helpless, in totally incomprehensible surroundings.
I feel like I have to avoid certain thrift store-isms, having been known for the thrift store paintings. It's like I have to not paint that way.
Only my current situation has enabled me to accomplish the expensive task of demonstrating that the preferred sustenance of painting is painting.
As for the subject matter in my painting.. ..it is very often an incidental thing in the background, elusive and unclear, that really stirred me.
A painting doesn't have to have a real usability other than you looking at it. Obviously, a car, an engine, or battery has to fit people's needs.
Put a symbol, or language of some sort, in a painting and it will be noticed by the viewer whether or not they can read that particular language.
And since geometry is the right foundation of all painting, I have decided to teach its rudiments and principles to all youngsters eager for art.
My studio work is a central part of my life and I'd be at loose ends without it. When I'm not in my studio, I don't stop thinking about painting.
Futurists wanted to suggest movement by means of a dynamic painting; Duchamp applies the notion of delay - or, rather, or analysis - to movement.
The Prelude to Tristan and Isolde reminds me of the old Italian painting of a martyr whose intestines are slowly unwound from his body on a reel.
I'm always looking at the computer. I make all of my work on the computer at some point or another. Almost all of the paintings come from a file.
I'm kind of an insecure artist. I hop from piece to piece. I always think my life depends on every painting. Every painting is my first painting.
Lets tell young people the best books are yet to written; the best painting, the best government the best of everything is yet to be done by them.
I like when people get really close to the paintings, when they can't really get away from them, I like them to operate in that way on the viewer.
If I had been around when Rubens was painting, I would have been revered as a fabulous model. Kate Moss? Well, she would have been the paintbrush.
Ever since I started painting, I have tried to get the fluidity and surprise of image connection, the simultaneity of film montage, into painting.
Mathematics is an activity governed by the same rules imposed upon the symphonies of Beethoven, the paintings of DaVinci, and the poetry of Homer.
I don't look at the work of my contemporaries very much; I tend to look at pictures by dead artists. It's much easier to get near their paintings.
Paintings are memories. Memories of the painter who painted them. Memories that can be shared as well. Paintings are things to remember things by.
If the imagination is shackled, and nothing is described but what we see, seldom will anything truly great be produced either in Painting or Poetry
Painting is a medium in which the mind can actualize itself; it is a medium of thought. Thus painting, like music, tends to become its own content.
A painting has its own existence and reality, and I make changes freely to meet the painting's needs. This sometimes takes me in another direction.
People who look at my painting say that it makes them happy, like the feeling when you wake up in the morning. And happiness is the goal, isn't it?
A really intelligent man makes an indifferent painter. For painting requires a certain blindness, a partial refusal to be aware of all the options.
The process of painting offers an infinite array of possibilities. The closer in unification to just one of those, the better the painting becomes.
I think of [my photographs] as found paintings because I don't crop them, I don't manipulate them or anything. So they're like found objects to me.