Quotes of All Topics . Occasions . Authors
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.
When I am in New York, you know, my studio is big, about 20,000 to 25,000 square feet, and I have painting rooms and rooms I do etching in, rooms I do lithographs.
I'm a tireless worker; I don't consider painting a work, it is not an obligation, I do it for pleasure; I haven't found anything that amuses me more than painting.
I have never really liked gigantic-scale painting. I think that so many artists are seduced by scale - "Well, if I make it that big then it has to go in a museum."
I gave up language for a while, and I started painting.And then I only listened to Miles Davis and other instrumental music to see how it felt to be without words.
If the weather is good I go into the nearby wood - there I am painting a small beech forest (in the sun) with a few conifers mixed in. This takes until 8 'o clock.
I transformed myself in the zero of form and emerged from nothing to creation, that is, to Suprematism, to the new realism in painting - to non-objective creation.
Every milieu has something ridiculous about it - film-making, the music world, painting - because people who take themselves seriously become funny pretty quickly.
I kind of do the drawing with the painting in mind, but it's very hard to guess at a size or a color and all the colors around it and what it will really look like.
It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
Learn to trust yourself. That's very vital. ... Just stand with yourself. Remember, in his lifetime, Van Gogh sold only two paintings. I personally sold even fewer.
It is not right for painters to think that painting is like prostitution, that 'first you do it for love, then you do it for others, and finally you do it for money.
My favourite painting is often the one or the collection that I am currently working on. This is probably due to the fact that I don't yet know where it will take me.
I have been surrounded by artists and paintings throughout my life. My father Ted Dyer is an artist, and from a very early age I have spent time painting and drawing.
Well, I don't think anyone now would say that they're painting the state of the culture of America. I think that's too grand and pompous a thing for anybody to claim.
It's hard to get hot over a painting; there's no equivalent for teenage obsessiveness. Art obsession is ideology. Ideology can be made sexy, but it's easier in music.
But, after all, the aim of art is to create space - space that is not compromised by decoration or illustration, space within which the subjects of painting can live.
Girls seemed to like artists! I felt very drawn to the idea of power, really, and doing painting as a power trip, in a sense. This idea of power has always driven me.
Art isn't only a painting; it's anything that changes someone for the better, any nonanonymous interaction that leads to a human (not simply a commercial) conclusion.
Owning vinyl is like having a beautiful painting hanging in your living room. It's something you can hold, pore over the lyrics, and immerse yourself in the art work.
To a large extent, the problems of poets are the problems of painters, and poets must often turn to the literature of painting for a discussion of their own problems.
I feel the need of attaining the maximum of intensity with the minimum of means. It is this which has led me to give my painting a character of even greater bareness.
I don't have much of a problem with interruptions. I keep a detailed record of paint and materials as a work on each painting. I can restart exactly where I left off.
At its edges, a painting makes its surrender to reality. The ways in which it can do so are endlessly revealing, as infinite as the potential forms of painting itself.
I don't buy art. I'd rather buy a beautiful location or a beautiful site than buy art. A beautiful home is like owning a beautiful painting, except you can live in it.
I have tried to draw the human effigy (and all the other subjects dealt with in my paintings) in an immediate and effective way without any reference to the aesthetic.
I'd asked around 10 or 15 people for suggestions. Finally one lady friend asked the right question, 'Well, what do you love most?' That's how I started painting money.
I have ADD or something. Even when I am doing something, it's me on the computer, I'm painting and I'm writing music. I have to rotate what I'm doing every 15 minutes.
I have been continuously aware that in painting, I am always dealing with... a relational structure. Which in turn makes permission 'to be abstract' no problem at all.
I never wanted to be a filmmaker. I still, sometimes, think I got sidetracked by this, like this is a tangent. My main thing was painting; I was just going to do that.
If one has set for himself the position that his painting shall not misconstrue his personal mode of thinking, then he must be rather alert to just what he does think.
[Pablo] Picasso really changed my life. It's strange to say so, but I started to see some Picasso paintings very early. I was very young, and he was not so much known.
If I had money, I would like to get an old building, have music performances, do lithographs, have shows of paintings, and do those things that I'm interested in doing.
You come back to the beginning. That's why in the "Searching for the Ox" sequence, at the very end of that sequence of the Zen paintings, we're back in the world again.
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.
When superstition is allowed to perform the task of old age in dulling the human temperament, we can say goodbye to all excellence in poetry, in painting, and in music.
Whenever I buy a painting, someone invariably says, "Oh, what a great investment." And I hate that reaction. To me, it's a matter of love and not an exchange of equity.
I mean, certainly writing, painting, photography, dance, architecture, there is an aspect of almost every art form that is useful and that merges into film in some way.
For pure joy, I look at a small painting by Arbit Blatas. An ocean liner is at the center of the composition, perhaps ready to depart. It holds the promise of discovery.
On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.
I think half the point of painting a picture is that you don't know what will happen... that if painters did know what was going to happen they wouldn't bother to do it.
Remember that a painting - before it is a battle horse, a nude model, or some anecdote - is essentially a flat surface covered with colours assembled in a certain order.
Only when the habit of one's consciousness to see in paintings bits of nature, madonnas and shameless nudes... has disappeared, shall we see a pure painting composition.
Painting is concerned with all the 10 attributes of sight; which are: Darkness, Light, Solidity and Colour, Form and Position, Distance and Propinquity, Motion and Rest.
With abstract work, I never was quite sure what it was that felt right about the painting, but I did know that I responded to it and I liked whatever it was offering me.
The visible is how we orient ourselves. It remains our principal source of information about the world. Painting reminds us of what is absent. What we don't see anymore.
If we fall into the trap of painting all Muslims with a broad brush and imply that we are at war with an entire religion, then we are doing the terrorists' work for them.
Butte was once a grand city. To me, that city is like one big stage for Edward Hopper. You could put your camera anywhere, and you felt you were looking at his paintings.
The older painting - well, it does have an effect all at once, I suppose, but it's of a lesser intensity than a lot of the American work in the last ten or fifteen years.
There is much virtue in a window. It is to a human being as a frame is to a painting, as a proscenium to a play, as 'form' to literature. It strongly defines its content.