Quotes of All Topics . Occasions . Authors
What can be said about a man who is interested in nothing but his painting? It's a pity if a man can only interest himself in one thing. But I can't do any thing else. I have only one interest.
Sketching is like dancing. It's process as much as product. You can turn your head off and just sort of dissolve into the now. Doing a giant, super thought-out painting is the opposite of that.
In the back of every painting there's an entire universe that makes it possible for the painting to be there: an army of conservators, technicians, people who maintain these things, the market.
Painting is... a richer language than words... Painting operates through signs which are not abstract and incorporeal like words. The signs of painting are much closer to the objects themselves.
Abstract painting is abstract. It confronts you. There was a reviewer a while back who wrote that my pictures didn't have any beginning or any end. He didn't mean it as a compliment, but it was.
For me there is no gap between my painting and my so-called 'decorative' work. I never considered the 'minor arts' to be artistically frustrating; on the contrary, it was an extension of my art.
Cooking is just a vehicle to express yourself, like painting and acting... The reason why we're cooking is not because we want to put something on the plate. It's so much more complex than that.
I like eating out. I like buying beautiful paintings and being surrounded by beautiful things. I have to finance that life. I can barely afford a pension scheme because I don't make enough money.
Abstract painting seeks to be a pure pictorial language, and thus attempts to escape the essential impurity of all languages: the recourse to signs or forms that have meanings shared by everyone.
When we don't have information, we go to the simplest outlook, to black and white. But then we have to lie to ourselves. Black is never as black as you're painting it and white is never as white.
I stopped painting because I was so shocked at what I was doing and how much I wasn't in the work. The work was alien to me. I didn't know how to paint in a way that would get me out of this funk.
To feel the grace of God in a painting of the dear, quiet commonness of a domestic interior, or in a landscape, seascape, cityscape, trains us to feel the grace of God in the thing itself in situ.
In fiction, plenty do the job of conveying information, rousing suspense, painting characters, enabling them to speak. But only certain sentences breathe and shift about, like live matter in soil.
Representational painters: loosen the grip of inflexibility! Abstract painters: tighten your hold on crafting your images! In both types of painting students need to unlearn what one has acquired.
Novels are like paintings, specifically watercolors. Every stroke you put down you have to go with. Of course you can rewrite, but the original strokes are still there in the texture of the thing.
I remember the first time I went to the Los Angeles County Museum of Art and saw a Kerry James Marshall painting with black bodies in it on a museum wall... It strengthened me on a cellular level.
As far as paintings go, I always think about what it's like to move them and hang them up and hope they don't drop. To me, that seems like a big gamble, but that comes from me not being a painter.
Painting embraces and contains within itself all the things which nature produces or which results from the fortuitous actions of men... he is but a poor master who makes only a single figure well.
Whenever I got a new studio I made the largest possible painting, and since the ceiling was low, the painting became horizontal. As I changed studios and got larger spaces, I made bigger paintings.
Engineering, medicine, business, architecture and painting are concerned not with the necessary but with the contingent - not with how things are but with how they might be - in short, with design.
One of the things I like about our contract is that you have relieved me of a great deal of personal interviewing and corresponding, among other things, which allows me a lot more time for painting.
I do what I can to convey what I experience before nature and most often, in order to succeed in conveying what I feel, I totally forget the most elementary rules of painting, if they exist that is.
My work is about your seeing. There is a rich tradition in painting of work about light, but it is not light -- it is the record of seeing. My material is light, and it is responsive to your seeing.
Art works because it appeals to certain faculties of the mind. Music depends on details of the auditory system, painting and sculpture on the visual system. Poetry and literature depend on language.
I was a really lousy artist as a kid. Too abstract expressionist; or I'd draw a big ram's head, really messy. I'd never win painting contests. I remember losing to a guy who did a perfect Spiderman.
When I'm painting, I'm not aware of what I'm doing. It's only after a get acquainted period that I see what I've been about. I've no fears about making changes for the painting has a life of its own.
Painting has this ability to send the viewer [backward], but it's also this physical object in the room with you. It's always knocking you back into the present moment, which I find very pleasurable.
My father is a well known artist, Ted Dyer, who has been painting for many years. Our work is very different, but growing up surrounded by paintings, paints, easels and art books does have an effect.
In my opinion painting should be considered excellent in proportion as it approaches the effect of relief, while relief should be considered bad in proportion as it approaches the effect of painting.
There is no interruption between my older paintings and my cutouts. Just that with an increasing sense of the absolute, and more abstraction, I have achieved a form that is simplified to its essence.
I have told myself a hundred times that painting - that is, the material thing called a painting - is no more than a pretext, the bridge between the mind of the painter and the mind of the spectator.
I do have a dream, a painting, the baths of La Grenouillere for which I've done a few bad rough sketches, but it is a dream. Renoir, who has just spent two months here, also wants to do this painting.
That's why I ended up going to Lancaster University, because they had a visual arts course, and in the first year it was like a broad visual arts course in sculpture, painting, graphics - all of that.
These days, newish art can be priced between $10,000 and $25,000. When I tell artists that a new painting by a newish artist should go for around $1,200, they look at me like I'm a flesh-eating virus.
There are so many people, especially among our comrades, who imagine that words are nothing - on the contrary, isn't it true that saying a thing well is as interesting and as difficult as painting it?
What's so astonishing about not understanding? There are so many things in art, beginning with art itself, that one doesn't understand. A painter doesn't see everything that he has put in his painting.
Painting (like poetry) chooses from universals what is most apposite. It brings together, in a single imaginary being, circumstances and characteristics which occur in nature in many different persons.
I am only interested in painting the actual person, in doing a painting of them, not in using them to some ulterior end of art. For me, to use someone doing something not native to them would be wrong.
I don't know any artists or painters, like, "Oh that painting group." I want to write down this idea of a group of artists who treat it like a band. Like, "Who made the painting?" "All four of us did."
I'm interested in that way we perceive things, and that was part of what I was getting into in painting - the idea of perception and how information goes through our heads and it comes out another way.
Watercolour painting is notoriously difficult - so much depends on directness and speed, and certainty of intention. Tentative or fumbling touches are disastrous, for they cannot be obliterated easily.
Every so often, a painter has to destroy painting. Cezanne did it, Picasso did it with Cubism. Then Pollock did it. He busted our idea of a picture all to hell. Then there could be new paintings again.
At a time when painting itself often seems to be a threatened, even despised, form of artistic activity, Andrew Salgado emerges as a dazzlingly skillful advocate for the medium he has chosen to embrace.
Movie making is not like other art forms, like painting, or writing a novel, because that can be digested or interpreted... It takes two years to make each one of these, and it's always judged on money.
I do not repudiate any of my paintings but there isn't one of them that I would not redo differently, if I had it to redo. My destination is always the same but I work out a different route to get there.
There's something of a painting of a woman that represents all women - and by extension, all of humanity - that I just find very exciting. It's a nice distillation, I think, of what it means to be alive.
God comes to us in theater in the way we communicate with each other, whether it be a symphony orchestra, or a wonderful ballet, or a beautiful painting, or a play. It's a way of expressing our humanity.
When you look at a work of art, you don't see a cover for something else; you see revelation. If you're an artist, art is the truest expression of yourself. Even if you're painting a life you don't have.
When I'm not painting, I'm Oujia-boarding with my photos. I'll sort through my pictures, put them in different folders, and come back months later to one in particular and try to figure out why I took it.
At some point I realized that the text was the painting and that everything else was extraneous. The painting became the act of writing a text on a canvas, but in all my work, text turns into abstraction.