Quotes of All Topics . Occasions . Authors
I think photography is closest to writing, not painting. It's closest to writing because you are using this machine to convey an idea. The image shouldn't need a caption; it should already convey an idea.
Every good picture leaves the painter eager to start again, unsatisfied, inspired by the rich mine in which he is working, hoping for more energy, more vitality, more time - condemned to painting for life.
Not the victims of any specific ideology of the left or of the right, but of the ideological posture as such. This has to do with the everlasting human dilemma in general: to work for a revolution and fail.
Painters strike me as having warm uncomplicated friendships and probably more natural generosity than the practitioners of any other art. Perhaps this is because painting is such a portable, flexible thing.
If a symbol should be discovered in a painting of mine, it was not my intention. It is a result I did not seek. It is something that may be found afterwards, and which can be interpreted according to taste.
'Pomegranate,' started with my imagining a bullet going through the fruit and causing it to bleed. My initial associations were with pomegranates in old masters painting and their Judeo-Christian symbolism.
He [Michael Jackson] would choose specific moments. They were art history books that I prefer. They were paintings that he prefers. It's this dance back and forth. We were halfway through the dance. He died.
In painting, as in the other arts, there's not a single process, no matter how insignificant, which can be reasonably made into a formula. You come to nature with your theories, and she knocks them all flat.
I am against the line and all its consequences: contours, forms, composition. All paintings of whatever sort, figurative or abstract, seem to me like prison windows in which the lines, precisely are the bars.
I'm interested in painting the most beautifully compelling pictures and images and metaphors and stories and explanations possible that will put Jesus in language for a world that desperately needs to hear it.
Painting and sculpture are very archaic forms. It's the only thing left in our industrial society where an individual alone can make something with not just his own hands, but brains, imagination, heart maybe.
After tea it's back to painting - a large poplar at dusk with a gathering storm. From time to time instead of this evening painting session I go bowling in one of the neighbouring villages, but not very often.
Good painting is nothing else but a copy of the perfections of God and a reminder of His painting. Finally, good painting is a music and a melody which intellect only can appreciate, and with great difficulty.
It was van Gogh's madness that prevented him from working; the paintings themselves are ineffably sane, if sanity is to be defined in terms of exact judgment of ends and means and the power of visual analysis.
An intrinsic part of the whole delicious, exuberant fun, and joy of painting consists in simply not having to bother about making a mess, either of one's person, or of the surroundings in which one is at work.
Poetry' is what distinguishes the cubist paintings Picasso and I arrived at intuitively from the lifeless sort of painting those who followed us tried, with such unfortunate results, to arrive at theoretically.
Painters work from the ground up. The latest version of a painting overlays earlier versions, and obliterates them. Writers, on the other hand, work from left to right. The discardable chapters are on the left.
Your art is part of the big painting of your life. You are on your own, standing by yourself in the middle of creation. In the beauty of that aloneness, and in how you respond to it, you will find your passion.
To talk about paintings is not only difficult but perhaps pointless too. You can only express in words what words are capable of expressing-- what language can communicate. Painting has nothing to do with that.
I've been honestly sitting in the living room every day doing little DIY projects. Painting and making stuff and all that stuff. That's been kind of cool. I got to find out I apparently have a passion for that.
At first I had some idea that the absence of color made the work more physical. Early on I was very involved with the notion of the painting as an object and tended to attack that idea from different directions.
You know, the way art history is taught, often there's nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.
My process is really quite organic, and starting a painting is one of the best parts for me. I always start in quite a loose and free way. I often put down one ground colour to begin with and then play off that.
Coming to understand a painting or a symphony in an unfamiliar style, to recognize the work of an artist or school, to see or hear in new ways, is as cognitive an achievement as learning to read or write or add.
It's Frank's painting on the cover. We were originally going to use a Salvador Dali painting that we got permission from Salvador Dali to use, and Frank found this one, and it really did fit the music much more.
I started experimenting with jewelry in my 20s - I was playing around with gemstones and painting things in gold leaf, and it turned into this huge obsession for me, so I launched my first jewelry line, Jade Inc.
You want accuracy, but not representation. If you know how to make the figuration, it doesn't work. Anything you can make, you make by accident. In painting, you have to know what you do, not how, when you do it.
Painting, for me, when it really 'happens,' is as miraculous as any natural phenomenon - as say, a lettuce leaf. By 'happens,' I mean the painting in which the inner aspect of man and his outer aspects interlock.
I have to take it as a given that I have got a certain ability to do something. I can be an artist, which is take something and transform it into another thing. I can just see something, and I can see my painting.
The first painting that I realised I liked was 'The Garden of Earthly Delights' by Hieronymus Bosch, when I was six years old, at the Prado in Madrid. I still find myself returning there every time I'm in the city.
Picasso's always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.
What is seen and called the picture is what remains - an evidence. Even as one travels in painting toward a state of 'unfreedom' where only certain things can happen, unaccountably the unknown and free must appear.
In my world, history comes down to language and art. No one cares much about what battles were fought, who won them and who lost them - unless there is a painting, a play, a song or a poem that speaks of the event.
I'm painting the paintings that I want to see in museums. And I'm hopefully presenting them in a way that's universal enough that they become representative of something different than just a black body on a canvas.
It's a privilege, you know, to paint and it takes up a lot of time and it means there's a lot of things you don't do. But still, with me, painting was more than a profession, it was also an obsession. I had to paint.
Because fashion essentially is art, and as an artist and someone who is also a musician and an artist in regards to drawing and painting, anything I can do that expresses my feelings is something I'm really drawn to.
Lend your ears to music, open your eyes to painting, and... stop thinking! Just ask yourself whether the work has enabled you to 'walk about' into a hitherto unknown world. If the answer is yes, what more do you want?
I know well enough in advance that you'll find my paintings perfect. I know that if they are exhibited they'll be a great success, but I couldn't be more indifferent to it since I know they are bad, I'm certain of it.
He who has learned what is commonly considered the whole art of painting, that is, the art of representing any natural object faithfully, has as yet only learned the language by which his thoughts are to be expressed.
I've enjoyed collecting. I've enjoyed art ever since - I'll tell you when - I went to Columbia. I went to the Met, and I saw Poussin's 'Rape of the Sabine Women', and it's this incredible, epic, great, great painting.
[My father] did every kind of work imaginable from painting to shoveling to herding cattle. And he's always been such an inspiration to me because of the very kinds of things that he did and the kind of life he lived.
Though painting borrows help indeed from colours... it has nothing more wide of its real aim or more remote from its intention than to make a show of colours... to raise a separate and flattering pleasure to the sense.
Painting bores me like everything else. Unfortunately, painting is one of the activities - it is bound up in the series of activities - that seems to change almost nothing in life, the same habits are always recurring.
To his surprise he also discovered that it was possible to be good at what you had little interest in, just as it had been possible to be bad at something, whether painting or poetry, that you cared about a great deal.
One of Cezanne's unfinished paintings... appears to be a completed work even though only a few strokes of paint have been put down. My methods are similar... I expect each of my paintings to appear whole in every stage.
Here, reality is not subordinated to painting, indeed painting seems the handmaid of reality, though we feel it tending towards a procedure which, while not at the mercy of appearances, is not yet in conflict with them.
Among the guitarists, Wes Montgomery is fantastic. He's always good to let you know what the art form is all about. It's the same still life that everybody is painting, but in comes Wes Montgomery, and it's right there!
Since a true knowledge of nature gives us pleasure, a lively imitation of it, either in poetry or painting, must produce a much greater; for both these arts are not only true imitations of nature, but of the best nature.
I’ve learnt from experience that a painting isn’t finished when you put down your brush – that’s when it starts. The public reaction is what supplies meaning and value. Art comes alive in the arguments you have about it.
The painting develops before my eyes, unfolding its surprises as it progresses. It is this which gives me the sense of complete liberty, and for this reason I am incapable of forming a plan or making a sketch beforehand.