Jamie Wyeth Quotes

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Art was a way of life in my family. My grandfather, N.C. Wyeth, who died a year before I was born, had been a prominent painter. So was my father, Andrew. My two aunts and two of my uncles also earned a living as painters.

I began drawing when I was nearly 3, and after finishing the sixth grade, I left school to paint and was tutored at home. My father didn't think a formal education was necessary for a painter.

Growing up in Chadds Ford, Pa., I shuttled between studio space in my parents' house and my grandfather's studio just up the hill. It was a solitary childhood, but I loved it.

My father was a great inspiration, and there was a bit of competition between us. He'd work in his studio, and I'd work in my space, but the door was always half open.

The real kiss of death - particularly with my father - is the extraordinary popularity of his work.

I had been elected to the National Academy of Design in New York, and one of the requirements was that you give a portrait, a self-portrait of yourself.

The great thing about a painter is that he or she lives on - I mean, Andrew Wyeth is more in his paintings than he was walking around.

I have continued to paint; my father - who was savaged by the critics - continued to paint until practically the last week of his life.

I learned from a longtime farmer that pigs enjoy soothing music.

I paint every day. I really have no hobbies. That's all I do.

The things that I paint are things that I know very well.

We lived in my father's studio, so there were the brushes and the pencils and the paint. So it would - it was very natural for me to want to paint, I think, and it was never a question.

I'm a very boring person, and all I do is want to paint and to record what I feel moves me or what interests me, and that can be in the form of a pig or in the form of President Kennedy.

The quality I most loved in Warhol - it was his sense of wonder. I mean, he was - absolutely everything was, 'Oh my God, isn't that wonderful!'. You know, and so it wasn't that he was cool and kind of calculated at all. He was very childlike.

I just can't whip off a likeness of somebody.

With a creature, there's no voice, so the eyes become the voice. When you get eye-to-eye contact, a real connection, it's limitless - and incredibly thrilling.

Nothing is more uninteresting than completely knowing somebody, being totally at ease.

Animals are not cute. They are disturbing. Pigs do eat their young. Actually, I hate pigs. I just happen to have some who are friends of mine.

Being a painter is the only profession where you have to stand there with all your shortcomings on the wall.

To me, this was an oxymoron, doing a painting of a dancer. Dancers are always moving.

Dance looks absurd on film, I think, like little puppets moving around.

To me, dance is so ethereal and elusive, so much of an illusion. After a performance, that's it. With vocals and music, you have good recordings.

I thought to live on an island was like living on a boat. Islands intrigue me. You can see the perimeters of your world. It's a microcosm.

The problem with having the name Wyeth is that immediately, when people hear the name, they all of a sudden see weathered barns in a field or something.

My father's like - it's as if he was transparent. He's a man of great mystery, whereas apparently N.C. Wyeth was 6-feet, 2-inches tall, with a booming voice. I think that's reflected in their work.

My father's work is rather mysterious, not much said, and my grandfather's is robust, bursting off the walls.

The whole consideration of - ... am I being compared as such and such's grandson and son - that was minuscule compared to the problems I was having just working... I didn't have time to start worrying about who I was in the eyes of the public.

My aunt Caroline was really a character. She lived and worked in my grandfather's old house and even wore some of his clothes.

From my earliest memories, my aunt was squirting out oil paint. I could just eat it. I would go from her studio and walk down to my father's house, and there he was, working in egg tempera.

Warhol had a huge effect on me. It wasn't that I sought it out. It was more of a natural evolution.

I'm not just interested in fascinating faces or trees. I want to bore in deeper.

I have copies of the books my grandfather illustrated for Scribner's in each house. I read those books all the time.

I have hundreds of art books and the biographies of artists I love, such as Thomas Eakins and Edgar Degas.

Most of my reading is based on what I'm working on. I did a series of paintings based on the seven deadly sins, so I read Dante and then Milton's 'Paradise Lost.' That was a bit hard going.

I mostly paint animals I'm familiar with, but I did a series of paintings of ravens, so I read everything about them.

As a child, I always wanted to live on a boat.

I'm a terrible technician, and I have a very hard time painting.

My sketchbooks are usually just a line on one page or a circle, which to most people must be totally meaningless. But to me, they are very important to the thing I am working on.

Really, if you get to know pigs, they're very moody. They're not sweet little animals at all. That's what I like about them. They get depressed; they get into these snits. They're carnivorous.

Oddly enough, my grandfather probably had more of an influence on me than my father.

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