Painting Quotes
Most Famous Painting Quotes of All Time!
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You're going to react to a painting in a way that the painting demands you react.
I would have rebelled against parental authority, no matter what. When I was 15, I started painting my face and making my own clothes.
Rock & roll is not obscure, it's really easy to understand. So is my painting.
I had an idea for a technologically advanced luxury watch. I got involved in digital art and neon painting and put on shows of my work.
People won't stop painting, just as they won't stop making music or dancing. This is a facility we have. Children don't stop doing it or having it. On the other hand, it seems we don't need painting anymore. Culture is more interested in entertaining people.
I'm still very sure that painting is one of the most basic human capacities, like dancing and singing, that make sense, that stay with us, as something human.
I believe in painting and I believe in eating too. What can we do? We have to eat, we have to paint, we have to live. Of course, there are different ways to survive. But it's my best option.
For me, painting is a way to forget life. It is a cry in the night, a strangled laugh.
From a child, I had an inordinate desire for knowledge and especially music, painting, flowers, and the sciences, Algebra being one of my favorite studies.
The growth of art seems to be in cycles, and often its vigorous lifetime is restricted to a century or two. The periods of distinctive drama, Greek, English, Spanish, fall within such a limit; the schools of painting and sculpture likewise; and, in poetry, the Victorian age or the school of Pope will serve as examples.
I always work out of uncertainty but when a painting's finished it becomes a fixed idea, apparently a final statement. In time though, uncertainty returns... your thought process goes on.
I had always loved expressionist painting, like every European. In fact I admired it all the more because these were precisely the paintings despised by my father's generation.
In traditional Asian arts, the word and the picture always sit next to each other. I have an aunt, a Chinese brush painter, who told me that when you do a Chinese brush painting, you have to pair the image up with some poetry.
As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.
The question I ask myself when adapting a book is how do I be true to the spirit and soul of the character? How would I describe this character in my medium? If you asked one person to do a painting of something and another to create a sculpture of it, you'll never ask, 'Why doesn't the painting look like the sculpture?'
I'm a storyteller. I love to tell stories about brands. I love to tell stories, period. I like painting pictures through the words, and that's what I do.
A painting should be tough; it should have muscle, but I have to find some tenderness in it, too. There has to be that dynamic.
People constantly describe me as a formalist or even a minimalist, but I'm not really bothered with the rules of painting or the history of painting. My approach is that everything is mine. I take what I can use from wherever, and then I forget where I've taken it from. But there is no point me making anything that looks like anyone else's.
I don't vote. I voted Labour once, in that moment of euphoria. I know that if people only made a voice for change, then change will happen, but I'm not that person. I'm painting pictures.
Now, I love painting. I love looking. I love the fact that they don't move. They constantly change with the light. They are sort of patient.
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.
One drawing demands to become a painting, so I start to work on that, and then the painting might demand something else. Then the painting might say, 'I want a companion, and the companion should be like this,' so I have to find that, either by drawing it myself or locating the image.
Small paintings can be fantastic. But you can't often get a narrative out of a small painting. In any case, museums are huge places, and you want to take up some space.
Sometimes I can see the whole painting from the outset in my mind's eye. But more often than not, that idea doesn't last the duration of the painting. Sometimes it comes out easy, just as I had envisaged. But that is reasonably rare.
I have to go with what the painting says to me. The painting is always informing me. I'm its servant; it's not mine. I'm doing what it wants.
I wrote as a kid, but I never wanted to be a writer, particularly. I had been drawing and painting for years and loved that.
The small amount of people that control the discourse around painting - I thought that the whole museum world was just a bunch of phonies, and I didn't really want to have anything to do with it. I guess I did installations, in a funny way, because they couldn't be commodified.
I'm 38 years old and Limp Bizkit is just something I do. If I was a painter, it would just be a type of painting I make.
I never consciously said, 'I want to be an actor.' It sounds stupid, but it's kind of like being a painter or something. You don't say, 'From today on I'm going to be a painter.' It's not something conscious - you've just been painting pictures all your life.
But, after all, the aim of art is to create space - space that is not compromised by decoration or illustration, space within which the subjects of painting can live.
When I'm painting the picture, I'm really painting a picture. I may have a flat-footed technique, or something like that, but still, to me, the thrill, or the meat of the thing, is the actual painting. I don't get any thrill out of laying it out.
I was worried in the '80s that the best abstract painting had become obsessed with materiality, and painterly gestures and materiality were up against the wall.
My interest in society - at times so pronounced that the word 'snob' comes a little to mind - derives from the fact that I like an immense number of things which society, money, and position bring in their train: painting, tapestries, rare books, smart dresses, dances, gardens, country houses, correct cuisine, and pretty women.
I will give a proof to demonstrate with facts that there are no rules in painting and that oppression or servile obligation of making all study or follow the same path is a great impediment for the young who profess this very difficult art.
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.
What I can't tell with a photo I will tell with a painting, and what I can't tell with a painting I will tell with a video or text sometimes, et cetera.
This truth must be recognized as a dogma and assume the validity of an axiom in the general understanding of painting.
I had wanted to be a sculptor throughout life, but to do so, I had to stop painting.
I am not the kind of director who sits in a chair smoking a cigar talking with a microphone to 10 assistants. I need to move. To touch. To put a painting on a wall. To arrange a set.
Envision what the end result is supposed to be... what do you want to be when you grow up? Where do you see yourself? Once we identify what the painting on the wall is, it is so much easier to bring in the right colors, canvas and brushes to paint that picture.
Contrary to what many Westerners believe, Islam has a rich tradition of secular painting in spite of its ban on images. It is only in religious rituals that the use of pictorial representation is totally prohibited.
Milos said, You're my first choice. From my point of view, that doesn't pay the rent. I said, Tell me what I have to do next because I'm busy painting my kitchen.
In the visual arts, particularly painting, I distrust all those abstractions, those artificial constructions. I have a very simple way of judging them: if I can do them, they are not art.
I am so longing to be domestic,, cooking stew, gardening, hopefully having some children, painting, sitting still in one place.
I should like to achieve free, spontaneous painting delineating a powerful, strong structured image. One must be possible with the other. A difficult problem in itself, but one which I shall achieve.
Usually, I am a compulsive person, and I need - sometimes urgently - to paint... Painting is close to poetry, is a kind of poetry expressed visually. It has to be spontaneous, rapid - at least in my case.
Mount Tamalpais became my house. For Cezanne, Sainte-Victoire was no longer a mountain. It was an absolute. It was painting.
In a book, you can describe a scene and have any song you want playing on the radio and have any painting you want hanging on the wall. That was really freeing to me when I was writing 'Ready Player One.' I could throw in everything that I love.
It's helpful for me to get ideas - the physical action of painting. Sometimes it frees up your writer brain. It's nice for me now that the writing has become a serious career that painting can become more like a hobby.
My primary thing is to make a painting, not necessarily to make a painting to sell for gazillions of dollars, but just to make a painting.
The truth is that painting is all about scale; you use scale to create experience. A lot of artists have lost that ability. They don't even know that's something they should be doing.
A brain scan may reveal the neural signs of anxiety, but a Kokoschka painting, or a Schiele self-portrait, reveals what an anxiety state really feels like. Both perspectives are necessary if we are to fully grasp the nature of the mind, yet they are rarely brought together.
I cannot remember a time when I was not interested in both gardening and painting. I must have been born with a trowel in one hand and a paintbrush in the other.
When I was a student looking at Leonardo DaVinci and all those guys - Italian, Dutch, or whatever - it's incredible how each piece of the painting fits to the main theme that they want to express.
In the early '60s, it was still a fairly subversive thing, though, to say that you should take a painting, cut it, set it on fire, step on it, hammer nails into it.
My painting teacher in high school used to say, 'I can't paint like I want to, but through practice I'll get better.' But I don't think that's true. I think sometimes you just can't paint.
When I was in high school, I was going to be a painter because I had a facility for painting. I could do it, but I didn't have anything to say in that medium.
A painting of a person can be descriptive, but for me it's about all the things that make up a picture - the feelings, the brushstrokes - more than describing somebody. People latch on to the personalities when they talk about my work and forget the other parts.
I barely knew I wanted to be an artist. I liked my art classes and painting was fun, I guess, but I didn't realize that seeing the country was going to inspire me to further explore that... but that's what it did.
My aim in painting has always been the most exact transcription possible of my most intimate impression of nature.
Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again become great.
The trend in some of the contemporary movements in art, but by no means all, seems to deny this ideal and to me appears to lead to a purely decorative conception of painting.
This kind of painting with its large frames is a bourgeois drawing-room art. It is an art dealer's art-and that came in after the civil wars following the French Revolution.
Painting picture by picture, I followed the impressions my eye took in at heightened moments. I painted only memories, adding nothing, no details that I did not see. Hence the simplicity of the paintings, their emptiness.
By painting colors and lines and forms seen in quickened mood I was seeking to make this mood vibrate as a phonograph does. This was the origin of the paintings in The Frieze of Life.
A painting in a museum hears more ridiculous opinions than anything else in the world.
You care enough, that you want your life to be fulfilled in a living way, not in a painting way, not in a writing way... you really do want it to be involving in living, corresponding with other living objects, moving, changing, that kind of thing.
When I was living in New York, I had this slightly wannabe bohemian existence and took up painting, at which I'm appalling. I also bought several guitars.
Destroying rainforest for economic gain is like burning a Renaissance painting to cook a meal.
Usually when painters use photographs, they enlarge and copy them and simply make a large, boring painting of a large, boring photograph.
The older painting - well, it does have an effect all at once, I suppose, but it's of a lesser intensity than a lot of the American work in the last ten or fifteen years.
Well, I am not interested in the kind of expression that you have when you paint a painting with brush strokes. It's all right, but it's already done and I want to do something new.
Well, I don't think anyone now would say that they're painting the state of the culture of America. I think that's too grand and pompous a thing for anybody to claim.
I'm drawn to silhouettes because of their emblematic rather than their illustrational quality. I see them as shapes, allowing an image to become an abstraction and for pure painting to take place.
If you listen to one of my albums, you can tell I do a lot of different things. In the case of 'Vincent', I thought of his picture 'Starry Night.' It was a beautiful road-map for a song. I used a lot of imagery from that painting.
Movies are weird; it's like trying to make a painting with one hundred people. It's a weird world, but every job is weird; it's always a little bit hard, crazy and fun, a nice combination.
I've done everything from cater, wait tables, pre-school teacher, painting, to being Cinderella, Elmo, a clown, nanny, selling hair... I would do kid's parties and entertain and do magic and paint faces and balloon animals. The highlight of my life.
American poetry, like American painting, is always personal with an emphasis on the individuality of the poet.
Painting, drawing - I'm really into photography, I've done it since high school.
I always say that improvisation is the utterance of one's spirit, and it dictates your life experience, and that's how you find your concepts and your way for painting your musical picture.
I grew up loving horses. I was relatively obsessed, starting with my rocking horse at age 2, all the way through my painting and drawing phase.
I hated painting, and I quit right after high school because I was continually told how terrific I was... it made me feel shaky.
There are plenty of millionaires who would pay millions to hang a Van Gogh painting on the wall, but hardly one that would have ever had the crazy nut over for dinner. I feel like the big companies are like that with musicians. They'll say, 'We love music! It's all about the music!' - but if a musician shows up at the door, they call security.
In painting, you don't have to go through a process of opinion; it speaks directly, and either it works, or it doesn't.
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