Painting Quotes
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I used to do stop motion in my own garage and Claymation and all that stuff. That led to doing backgrounds and matte paintings. I started doing matte paintings professionally back before the computer, sort of painting on glass.
Painting, sculpture and architecture are finished, but the art habit continues.
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.
There was a whole language that I could never make function for myself in relationship to painting and that was attitudes like tortured, struggle, pain.
I'm not so facile that I can accomplish or find out what I want to know or explore enough of the possibilities and a way of making a painting, say, in just one painting or two paintings.
I think a painting is more like the real world if it's made out the real world.
But I was in awe of the painters; I mean I was new in New York, and I thought the painting that was going on here was just unbelievable.
And also the new excitement and variety of ways that the abstract expressionists were applying paint. You could put it on as though it were colored air and it would be painting.
And all of this, all these physical aspects of painting at that time excited me very much. You could do a picture in just black and white. I mean all the things, whether you're soliciting permission or not, do give you permission.
I sometimes use a lot of light greens and greys when I feel there is sadness in the painting.
What is the use of good painting? We want a spell cast upon the optical part of our existence! We seldom really see the world, but when we do, we become as still as a picture.
Leon Theremin's original designs are elegant, ingenious and effective. As electronics goes, the theremin is very simple. But there are so many subtleties hidden in the details of the design. It's like a great sonnet, or a painting, or a speech, that is perfectly done on more than one level.
Landscape is to American painting what sex and psychoanalysis are to the American novel.
Some people like to paint trees. I like to paint love. I find it more meaningful than painting trees.
I think of my peace paintings as one long poem, with each painting being a single stanza.
The messages that my work might contain, the verbal aspects, the use of words, certainly I never mean for it to be more than - shall we say? - fifty percent of the total, and sometimes my active interest is much less than that. It is the formal aspect of my painting which fascinates me most.
The actual technique, the process of painting flat color and simple geometric edges, all dates from my time here on Coenties Slip.
When I was painting portraits and - shall we say? - rather allegorical heads, which is the figurative work which immediately preceded the direction I have since gone, these images were always of a very fixed, rigid quality, and, of course, my work still has this aspect.
I slowly dismantled the act of painting, to consider the possibility that no-thing ever really transcends its immediate environment.
If I hold up a red square for 30 seconds and take it away, you will see a perfect green square. It's how the eye works. So if you want to paint a really good red painting, you have to strategically place in some green, so the eye is brought back.
Everybody has a favorite song, but everybody don't have a favorite painting.
The real sustains the same relation to the ideal that a stone does to a statue - or that paint does to a painting. Realism degrades and impoverishes.
It is this research into pure painting that is the problem at the present moment. I do not know any painters in Paris who are really searching for this ideal world.
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.
Everything I do, whether it's producing or signing an artist, always starts with the songs. When I'm listening, I'm looking for a balance that you could see in anything. Whether it's a great painting or a building or a sunset.
I was the youngest of four kids, and Dad, who had a garden centre before he retired, came from a large Lancashire family. Every one of my uncles had their own business, including a post office, two fish and chip shops and a painting and decorating business.
There was a belief after World War I that painting could be an act of civil revolt. I want this exhibition, 'New Museum,' to be an act of civil disobedience. It's not so much about the New Museum on the Bowery, but the idea of challenging museums as projections of cultural authority. It's painting as insurgency.
Technically, a makeup artist's canvas is the face and body. The difference is that my painting of makeup is integrated into the painting of the flesh and not on top of it. I think in some ways it is more difficult to expressively deploy makeup.
Painting, for me, is a dynamic balance and wholeness of life; it is mysterious and transcending, yet solid and real.
I'm a classically trained painter, and I was an illustrator in New York working with Fortune 500s companies as well as the NBA and the Olympics. I first got into sculpting when I created a sculpture based on a painting I had done for the 1984 Olympics.
I was painting sets, working in editorial as an assistant, driving their trucks, lying that I knew how to drive a truck, and doing commercials and documentaries.
In abstract painting, I worried about the limited range of possibilities that, as time went on, became increasingly important to me. I wanted to express or deal with differences that an all-over paint and canvas 'presence' neutralized.
I want a painting to be difficult to do. The more obstacles, obstructions, problems - if they don't overwhelm - the better. I would like to feel that I am involved at any stage of the painting with all its moments, not just this 'now' moment where a superficial grace is so available.
With rare exceptions, I respond most to painting that cuts across grain rather than following it. I think the artist here can get in touch with that grain rather than simply feel its flow. And he really can't cut right across it anyway.
When me and Sheila got married, all we had was an oval table, four chairs, a bed, and a painting by Matthew Smith.
I've always been a fan of poetry. I grew up with Lawrence Ferlinghetti and the Beat poets. I really followed that stuff for a while. I just love the way people threw words around like they were painting.
My painting is visible images which conceal nothing... they evoke mystery and indeed when one sees one of my pictures, one asks oneself this simple question 'What does that mean'? It does not mean anything, because mystery means nothing either, it is unknowable.
Writing a short story is like painting a picture on the head of a pin. And just getting everything to fit is - sometimes seems impossible. Writing a novel, though, is - has its own challenges of scope. And I think of that as painting a mural, where the challenge is that if you are close enough to work on it, you're too close to see the whole thing.
Every milieu has something ridiculous about it - film-making, the music world, painting - because people who take themselves seriously become funny pretty quickly.
Every song has a composer, every book has an author, every car has a maker, every painting has a painter, and every building has a builder. So it isn't irrational to take this simple logic a little further and say that nature must have had a Maker. It would be irrational to believe that it made itself.
If not a chef, I would have been a painter maybe. I have interest in painting, and I do it well.
Someday, I plan to buy a house in Goa, do only one movie a year, and spend the rest of time painting, learning how to cook, cooking for friends, and doing yoga.
Without a good cultural policy, without adequate help, we will always have individualists, shooting stars who are rapidly forgotten or who stop painting for a more profitable occupation.
True Boogie-Woogie I conceive as homogeneous in intention with mine in painting: destruction of melody, which is the equivalent of destruction of natural appearance, and construction through the continuous opposition of pure means - dynamic rhythm.
To move the picture into our surroundings and give it real existence has been my ideal since I came to abstract painting.
All individual thought is dissolved in universal thought, as all form is dissolved in the universal plastic means of Abstract-Real painting.
Painting and music were the only things I worked at industriously and faithfully.
Painting is an illusion, a piece of magic, so what you see is not what you see.
I felt the need to get back to painting and I thought the best way was to start drawing, so I enrolled in a life drawing class. I soon discovered that people made very interesting subjects and I am still surprised that I had never discovered it before.
Painting is seen as picture making, the making of an art object, something that can stand on its own.
I never know what it's going to look like. Wouldn't be much point in painting if I already knew the outcome. I have a subject in front of me and I start flooding colour and making marks, I don't know, it's improvisation isn't it?
I try to vote as left as I can. I hope that my paintings will coincide and be far left, but frequently... the painting rebels and goes fascist on me.
While in college, I used to get my ideas from photographs in 'National Geographic.' I started painting palm trees and motorboats.
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.
Seven days a week, I'm always drawing, doodling, or painting, whether I'm in the studio or on a plane.
Modern art, in particular, seems especially vulnerable to fraud. Its abstractions are sometimes difficult to understand or grasp, and a modern painting is often loved less because of its intrinsic quality - its beauty, as conventionally understood - than because of the identity of the painter, its mark of social status.
I don't want to be a film-maker. I think painting is far more exciting and profound.
I'm old fashioned. I really think you should know how to draw before you start painting. I use charcoal and graphite; I put a skylight in. In my house, I turned the garage into an art studio. So I'm awash in art studios.
It's still an escape for me, painting, so it also takes me elsewhere. I don't think I would do it otherwise.
It's not about perfection. What's a perfect painting? What's interesting about a perfect painting?
I don't think money can help you become a better painter, for sure. You can have all the studios you want; it won't help you make a better painting.
You cannot just be working in a vast, air-conditioned loft space and think you are going to make a decent painting. Francis Bacon had a special studio built, and he felt completely emasculated in there. I have to be somewhere comfortable.
What is bad painting? Picabia made some deliberately bad paintings, but they were by him, so great in a way.
A movie is painting, it's photography, it's literature - because you have to have the screenplay - it's music. Put a different soundtrack to a comedy and it's a tragedy. A movie combines all those forms and forces you to pay attention for two hours with a group of people.
There was a point after the whole intensity of the Clash finally subsided when I just found that painting grounded me in a way that music didn't.
I'm not knocking conceptual art; it's another department, but it doesn't move me like painting.
In the West, we look at art through life. Well, that's one way of living. In the Orient they look at life through art. They even drink their tea without sugar, for the same reason that they don't like a lot of frilly decorations on a painting. I can't stand butter on my bread for the same reason. I'm allergic to goo and rococo.
Life is a painting, and you are the artist. You have on your palette all the colors in the spectrum - the same ones available to Michaelangelo and DaVinci.
Painting from nature is not copying the object; it is realizing one's sensations.
Painting is damned difficult - you always think you've got it, but you haven't.
90% of every art form is garbage - dance and stand-up, painting and music. Focus on the 10% that's good, suck it up, and drive on.
As soon as I went to painting school in New York, I took an experimental film course, and everything clicked and came together. I realized my love of music and drama and the visual arts all came together. This happened in 1989. Since then, it's been a long road of educating myself in every possible way.
As soon as I went to painting school in New York, I took an experimental film course, and everything clicked and came together. I realized my love of music and drama and the visual arts all came together.
There are the guys that wear the white hats and they’re painting the picture of someone to wear the black hat and they chose me - even though they don’t really know me.
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.
Painting is a blind man's profession. He paints not what he sees, but what he feels, what he tells himself about what he has seen.
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