Painting Quotes
Most Famous Painting Quotes of All Time!
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One does a whole painting for one peach and people think just the opposite - that particular peach is but a detail.
I have a horror of people who speak about the beautiful. What is the beautiful? One must speak of problems in painting!
I work on words, mostly, toward them being poetry or short stories, and then some of those become songs. They all find their place in the world, but they all start off in the same place. I'm always painting and drawing as well, and it's an ongoing creative assignment.
I did photography, painting, and drawing, but I prefer sculpture. I like it because it's very physical.
Everybody thinks they know what art should be. But very few of them have the sense that is necessary to experience painting, that is the sense of sight, that sees colors and forms as living reality in the picture.
Not that painting would have been a release. The reason for doing it is the desire to create. I've got to do it! I've seen that, I can still remember it, I've got to paint it.
I wrote 'My Name is Red' just to remember painting, where the hand does it before the intellect. When I'm captive to it, I'm a happier person. Kierkegaard tells us that a happy person is someone who lives in the present; the unhappy person, someone who lives either in the past or the future.
'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.
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.
Futurists wanted to suggest movement by means of a dynamic painting; Duchamp applies the notion of delay - or, rather, or analysis - to movement.
I didn't know what to expect from a famous movie star; maybe that he'd be sort of stuck-up, you know. But not Gary Cooper. He horsed around so much... that I had a hard time painting him.
The secret to so many artists living so long is that every painting is a new adventure. So, you see, they're always looking ahead to something new and exciting. The secret is not to look back.
When you're a kid, and someone's an artist, you think of Leonardo da Vinci. You don't think that's a job; you just think of a man with a beard, painting the ceiling of the Sistine Chapel.
I love the idea of renaissance. If my career is like painting a canvas, I want to have as many different colors in there as I can.
We’ve all been there - you find something moving, you commission a painting. I know one wall of my living room is taken up by a mural of the end of Toy Story 3.
There's nothing worse than sleeping in makeup. You wake up looking like a painting that's been left out in a rainstorm.
I'm very superstitious. I come from a family that's big on not painting the nursery until the baby is home.
I became an American on Nov. 4, 2010, at an elegant ceremony in Great Hall of Bullfinch's Faneuil Hall, Boston, beneath a vast painting of Daniel Webster debating the preservation of the Union with Robert Hayne of South Carolina, before the Civil War.
I acquired quite a lot of technical skill and got quite a long way with my painting, but I never felt I was doing what New Zealand was about with my paint.
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.
I wanted to make these people real, not like they were in a painting. Like these are people who don't know they're in a period movie. Those concerns are incredibly immediate.
It is the single image, as used in a photograph or a painting - or the frame of a film - to which words have been added to enlarge the context. The method is not the same as that by which most paintings are named. It is closer in its performance to what dialogue does to a movie, to what the caption does to a good poster.
I am really fond of drawing, painting mehendi, so I would draw mehendi on a groom's hand and earn money.
I want to give my compliments to Australia. Ever since your government paid a few million dollars for a Jackson Pollack painting, I figure that it must be a marvellous country.
I had always loved cartoons, especially 'Bugs Bunny,' and I found I enjoyed making animated films. Even a 30-second commercial involved drawing and painting, storytelling, not to mention actors, music, and sound effects.
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.
Last year my boyfriend gave me a painting - a very personal one. I really prefer personal gifts or ones made by someone for me. Except diamonds. That's the exception to the rule.
People whose understanding and taste in literature, painting, and music are beyond question are, for the most part, ignorant of what is good or bad art in the theater.
And I like the idea of change. Because I don't see why we should hang a painting on the wall and then just not think of it anymore because it's there like a piece of furniture.
I have a pretty big range of interests. I love art; I love going to the museums. I dabble in painting, and although I'm not very good at it, I enjoy it.
I have ridiculously bad eyesight, but I have learned to live with an impressionistic view. Life is a Monet painting. I wander around enjoying myopia.
The greatest advances of civilization, whether in architecture or painting, in science and literature, in industry or agriculture, have never come from centralized government.
I grew up painting and playing piano so when I was a little kid I thought I was going to be an artist or a painter but my mom had me taking piano lessons for about 10-12 years as a young kid.
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.
I think it is an inborn talent - just luck. Some people can learn languages; some can throw a ball. Most people have something. My talent is drawing and painting.
I've painted in the past, but I only average about one painting a year, and the last painting I did, I actually really liked.
There's a ton of stuff in mythology and folklore that is loaded with wonderful creatures that I haven't drawn yet, but that's kind of my retirement plan. Theoretically, I won't be doing comics any longer, and I'll just be drawing and painting whatever the hell I want. Most of that will be monsters.
Maybe some people, when they sit down to write their great novel or make their great record or paint their great painting, they have it all planned out in their head. But for me, it's never worked that way.
Music is my greatest love. It is also my first love. But I love a lot of things, including painting, drawing, writing, designing, and more.
I don't see myself as a photographer. I still see the photographs and collages as a resource for the painting.
With photography, you've captured a moment time - it's that moment only - and in painting, you play with it; you manipulate how time is presented. It's about fantasy and illusion and the creation of desire.
The first painting I remember selling was 'Panthera.' I made it while I was in residence at the Studio Museum in Harlem, and the museum actually purchased it directly from me.
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've been painting off and on since I was in sixth grade. I don't paint when I'm acting - I'm not really able to split my focus that way. I do it intensely when I'm doing it, but I'm reluctant to take myself too seriously as a painter because that would mean there would be pressure to be better than I am.
I do portraits. I usually do live models in a class environment, but I've been painting at home more. I really love the human form, and I love faces. I've tried to do landscapes a few times.
I think people have to choose between living with contradictions or painting themselves into a corner. I have a lot of contradictions.
I've been doing this since I was a kid. Then, I got in trouble for painting like this on the wall, but now, I get paid for it.
When I was in art college, I would be painting, and I would create something on a canvas that was actually quite attractive. But if I got frightened and tried to protect that, that canvas would die.
I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.
I was very girly growing up; I loved pink and doing my makeup and doing my hair and painting my nails.
People say, 'Why don't you just paint with paintbrushes?' I say that I feel more connected to my painting using my skin. It's very tribal in a way - savage!
Painting is not for me either decorative amusement, or the plastic invention of felt reality; it must be every time: invention, discovery, revelation.
I hardly need to abstract things, for each object is unreal enough already, so unreal that I can only make it real by means of painting.
I believe the reason I love painting so much is that it forces one to be objective.
Painting is a very difficult thing. It absorbs the whole man, body and soul, thus have I passed blindly many things which belong to real and political life.
I believe that the reason why I love painting so much is that it forces one to be objective. There is nothing I hate more than sentimentality.
I hope to actually get back to painting someday... soon. I sort of transitioned into cartooning from painting.
Lovers of painting and lovers of music are people who openly display their preference like a delectable ailment that isolates them and makes them proud.
Good painting is like good cooking; it can be tasted, but not explained.
When I get my hands on painting materials I don't give a damn about other people's painting... every generation must start again afresh.
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.
I had tried painting, mostly to give myself a greater appreciation of the craft and to inform how I looked at paintings. That led to collaging some of the work I had done on paper, and I found myself mixing in found pieces as well.
I've always loved painting and drawing. I wish I'd developed it more and exhibited.
I try to not get to the point where one is making wallpaper, or simply painting money. I want to make sure that I am at least trying to weigh myself down, that there's a challenge each time.
When I was growing up, I wanted to be a house painter like my father, but I was always screwing up when I went to work with him. I had a talent for knocking over paint and painting myself into corners. I also realized fairly quickly that painting bored me.
I believe that painting should come through the avenues of meditation rather than the canals of action.
I go through the arc of a relationship with every single painting that I do.
It's not like since I make comics I only read comics and since I make movies I will only go out and watch movies. Any kind of artistic expression interests me; it goes from literature to music to sculpture, painting; whatever is extremely inspiring for me becomes a reference also for me.
Certainly one of the surprising truths of having a book published is realizing that your book is as open to interpretation as an abstract painting. People bring their own beliefs and attitudes to your work, which is thrilling and surprising at the same time.
The thrill of a photo-realist painter is if you get really close to the painting, it looks just like a photograph. Whereas in my case, if you get close to my paintings, they totally fall apart - so I'm about as far from a photo-realist as it gets.
But painting can be too lonely... I like being with people too much to have ever made that my life's work.
I do remember when it occurred to me the first time, when I got the idea of painting the way I feel at a given moment. I was sitting in a chair and felt it pressing against me. I still have the drawings where I depicted the sensation of sitting.
Painting is not what my life is about, but it is very important to me, and I am very lucky to be able to give some time to it.
The time that I devote to painting is not a lot of time, but I do it 100 percent while I am working, and then there's nothing else that counts.
No other human being, no woman, no poem or music, book or painting can replace alcohol in its power to give man the illusion of real creation.
I'm a happy camper when I'm doing both: writing and art every day, along with a dose of reading and adventures into what else is being done by other artists/writers and poets. Like breathing. I've written poems or fictions to go with a painting. The source for the inspiration of the art often eludes me.
The Italian futurists, the German expressionists, and the British vorticists were fascinated by speed and the ways the modern world was shattering conventions. The old ways of painting, writing, sculpting, and composing no longer seemed adequate to capture the world.
I explored the arts in general; I took painting classes and sketching classes and acting classes and all sorts of different things.
In the beginning, I started doing portraits of children, and of course, children have large eyes. For some reason, they just started getting bigger and bigger. Then, when I started painting imaginary children rather than real ones, they became bigger still.
When you make a painting, even abstract, there is always a sort of necessary filling-in.
Painting is a language of its own. You cannot interpret one form of expression with another form of expression.
Since Courbet, it's been believed that painting is addressed to the retina. That was everyone's error. The retinal shudder! Before, painting had other functions: it could be religious, philosophical, moral... our whole century is completely retinal, except for the Surrealists, who tried to go outside it somewhat.
Rational intelligence is dangerous and leads to ratiocination. The painter is a medium who doesn't realize what he is doing. No translation can express the mystery of sensibility, a word, still unreliable, which is nevertheless the basis of painting or poetry, like a kind of alchemy.
Dada was an extreme protest against the physical side of painting. It was a metaphysical attitude.
'Art or anti-art?' was the question I asked when I returned from Munich in 1912 and decided to abandon pure painting or painting for its own sake. I thought of introducing elements alien to painting as the only way out of a pictorial and chromatic dead end.
All painting, beginning with Impressionism, is antiscientific, even Seurat. I was interested in introducing the precise and exact aspect of science, which hadn't often been done, or at least hadn't been talked about very much.
A revolution is not a dinner party, or writing an essay, or painting a picture, or doing embroidery.
It's hard not to look at the road of the media and how the media is a big part of painting a picture for public opinion.
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