Quotes of All Topics . Occasions . Authors
There are so many good ones to paint and if you paint as well as you really can and keep out of all other things and do that, it is the true thing.
Painting depends on freedom. When you're feeling completely free, you can create, and this power to create is, in turn, the greatest freedom of all.
Of course, my painting outfit has to be the focus of the shoot to promote a designer, or if I wear my own it will inspire someone's next collection!
Very quickly a painting is turned into a facsimile of itself when one becomes so familiar with with it that one recognizes it without looking at it.
... a canvas that I have covered is worth more than a blank canvas. My pretensions go no further; that is my right to paint, my reason for painting.
I'm not interested in painting; I'm not interested in making a picture. Then what the hell am I interested in? I must be interested in this process.
When I look at a painting it isn't only the painting I see but the thing that I am. If there is more in the painting that I am, then I won't see it.
Painting is still to a great extent dominated by a central image; corners in most cases are like uninvited guests at a party, uneasy and unattended.
There's a lot of difference between being well known and being notorious and the black paintings didn't make me well known - they made me notorious.
Doubt is a central factor all the time. There's always the doubt: What the hell am I doing out here in the middle of the woods, all alone, painting?
There is an aesthetic excitement about painting which is one of the most beautiful experiences that can be. Put things down while you feel that joy.
Yesterday, I did some painting then went out to buy an onion and came home and watched 'University Challenge.' The onion was probably the highlight.
Painting contains a divine force which not only makes absent men present, as friendship is said to do, but moreover makes the dead seem almost alive.
The ephemeral nature of live performance is the part I love most - it's a monk's sand painting, carefully constructed, then wiped away in an instant.
I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.
I love the trick of painting. You can have the movement within the still thing, but it is completely fixed. And that illusion is constantly exciting.
When you're on a highway, viewing the western U.S. with the mountains and the flatness and the desert and all that, it's very much like my paintings.
I have ridiculously bad eyesight, but I have learned to live with an impressionistic view. Life is a Monet painting. I wander around enjoying myopia.
I'm also inspired by anything that I consider great. It makes me want to raise my game too - Hitchcock movies, Hopper paintings, Springsteen concerts.
I continue to make paintings of people and their moments in our time because I am of that time. Out of that I hope to make pictures that are timeless.
I enjoyed art in school. I've always done little drawings and stuff like that. I don't really know what I'm doing with the painting, but I experiment.
Just as I am astonished that a bank clerk never eats a cheque, so too am I astonished that no painter before me ever thought of painting a soft watch.
Painting... in which the inner and the outer man are inseparable, transcends technique, transcends subject and moves into the realm of the inevitable.
My skills are not of the highest caliber, but I know a thing or two, and I occasionally produce a painting that contains passages of truth and beauty.
Even if the painting is green, well then! The 'subject' is the green. There is always a subject; it's a joke to suppress the subject, it's impossible.
One day, in the San Francisco walk, he came upon some badly painted figures and observed that good painters imitate nature but bad ones vomit it forth.
In a successful painting everything is integral - all the parts belong to the whole. If you remove an aspect or element you are removing its wholeness.
Remember the enemy of all painting is gray: a painting will almost always appear grayer than it is, on account of its oblique position under the light.
The imagery is very much released from reality. It's not nailed down to specifics of the words. They're painting a picture, not telling linear stories.
An artist makes a painting, and nobody bugs him or her about it. It's just you and your painting. To me, that's the way it should be with film as well.
When I write, I disturb. When I show a film, I disturb. When I exhibit my painting, I disturb, and I disturb if I don't. I have a knack for disturbing.
A lot of people spend all this time painting their house, picking out rugs, and then they put fluorescent lighting in there. It totally ruins the mood.
When I first started painting candyland imagery, I was looking for the best possible metaphor for everything that is pleasure, desire and insatiability.
Scientific perspective forces the objects in a picture to disappear away from the beholder instead of bringing them within his reach as painting should.
Lovers of painting and lovers of music are people who openly display their preference like a delectable ailment that isolates them and makes them proud.
What I can't tell with a photo I will tell with a painting, and what I can't tell with a painting I will tell with a video or text sometimes, et cetera.
I still have a lot of pleasure doing them, but as time goes by I come to appreciate more clearly which paintings are good and which should be discarded.
I love meeting people who've read my books. The prime reason to be on the planet is to make things I can show to other people: paintings, books, movies.
I do what I do out of pure enjoyment. Hopefully, nobody does it better. There's a beauty to making a great deal. It's my canvas. And I like painting it.
My paintings are reflections of my own inner mysteries... they all reflect my relationship to my steadiest of companions and muses - nature and animals.
I have found in my still-life work that I seem to be able to tell what objects are important to me by what tends to stay in the painting as it develops.
Poetry fettered, fetters the human race. Nations are destroyed or flourish in proportion as their poetry, painting, and music are destroyed or flourish.
In my experience a painting is not made with colors and paint at all. I don't know what a painting is; who knows what sets off even the desire to paint?
I'm very representational some of the time, and a little all of the time. But when you're painting out of your unconscious, figures are bound to emerge.
I'm a storyteller. I love to tell stories about brands. I love to tell stories, period. I like painting pictures through the words, and that's what I do.
In the middle 1940s... I heard everyone live. Painting, the theater; everything was happening. It was an exciting time when New York was the place to be.
Over and over again did the Attorney-General cry out aloud, in the agony of his cause, 'What is to become of painting if the critics withhold their lash?
I am never going to have anything more to do with politics or politicians. When this war is over I shall confine myself entirely to writing and painting.
There's something retro about the pop culture references in the paintings, so I'd imagine it's not as much a pop culture reference as a pop art reference.
If you're stuck in a painting, then stop and draw something else. Draw a flower and put your love into that flower. Then your powers will come back again.