Painting Quotes
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Musical composition, about which I know little, is a complicated art, and some contemporary music may be the equivalent of a complex abstract painting.
I feel fairly certain that my painting skills might not be best shown on 'Dancing with the Stars.' I'll have to come up with another way to showcase that side of me.
The problem for the Left, however, is that the moment it stops painting the Right as vile, it has to argue the issues.
I'm just a middle-class farm boy from Dodge City, Kansas. And I always thought that acting was art, writing was art, music was art, painting was art, and I've tried to keep that cultural vibe to my life.
When superstition is allowed to perform the task of old age in dulling the human temperament, we can say goodbye to all excellence in poetry, in painting, and in music.
My work since the late '80s specifically questioned what was presented as the 'natural' order of things in the history of post-war-N.Y. painting.
If I had been around when Rubens was painting, I would have been revered as a fabulous model. Kate Moss? Well, she would have been the paintbrush.
David Hockney is best known for his work with paint and canvas, but he has also worked in media as diverse as Polaroid-photo collage and fax painting.
See, a painting is much cheaper than making a film. And photography is, you know, way cheap. So if I get an idea for a film, there are many ways to get it together and go realise that film. There's really nothing to be afraid of.
As a kid, I was always building things. My father had a shop in the house, and we built things - we were kind of a project family. I started out as a painter, and then painting led to cinema, and in cinema, you get to build so many things, or help build them.
Intuition is the key to everything, in painting, filmmaking, business - everything. I think you could have an intellectual ability, but if you can sharpen your intuition, which they say is emotion and intellect joining together, then a knowingness occurs.
An artist makes a painting, and nobody bugs him or her about it. It's just you and your painting. To me, that's the way it should be with film as well.
Every viewer is going to get a different thing. That's the thing about painting, photography, cinema.
You get a painting idea, and you go do that. You get a cinema idea, and you go in to do that. The difference is, even though the paintings might take some time to make, with cinema you are booked for a year and a half, minimum.
I love Christmas tree bulbs, and I started putting them in my paintings. You've got to plug this painting in, and it's got a rig in the back, so that each one can be replaced if it burns out.
A lot of painters listen to music, I think, while they paint. But I hate to do that. It's a horror. I can't really listen to the music. I'm not really concentrating on it, and I'm not really concentrating on the painting.
Film is mostly a visual medium, and so the director has much more control in terms of painting pictures and painting a performance. For theater, the director does everything he can and then says, 'Out you go,' and the actors are in charge of that stage every night.
Oratory is the masterful art. Poetry, painting, music, sculpture, architecture please, thrill, inspire - but oratory rules. The orator dominates those who hear him, convinces their reason, controls their judgment, compels their action. For the time being, he is master.
I was always painting when I was a kid. But then when I handled a camera when I was 17, that was it for me. I loved photography. I would work 4 or 5 hours a day. It was like a calling.
I had always planned to make a large painting of the early spring, when the first leaves are at the bottom of the trees, and they seem to float in space in a wonderful way. But the arrival of spring can't be done in one picture.
Photography was inspired by painting, cinema by theatre and photography, I don't believe that any new art form was ever created from scratch.
I approach video games the same way I approach theatre, filmmaking, poetry, or painting. I wish more people would take that point of view. It would help the industry to move on.
I'm a big believer in the emotion of design, and the message that's sent before somebody begins to read, before they get the rest of the information; what is the emotional response they get to the product, to the story, to the painting - whatever it is.
I would often see windows that looked to me like they weren't real - almost like a painting on a wall instead of a window. I thought it was kind of a cool idea.
It used to be that if you stood in front of a painting you didn't understand, you'd have some obligation to guess. Now you don't.
The reason I play music is to touch people - for selfish reasons, as well. It feels good to make someone else feel something, whether it's a kiss, a painting, good idea or it's a song.
There isn't an amount of money you could offer me to do reality TV. I would rather get my job back on the building site. Or I could own a construction business. Maybe I could retire to my house in Long Island and take up painting, like Captain Beefheart. A crazy recluse: I like that idea.
As a composer and as a musician I'm a true believer - and this is not to be overly diplomatic - I'm a believer that there's artistry in everything from a lawn gnome to a desk chair to a symphony to an Andy Warhol painting. There's art in absolutely everything.
I loved painting and drawing for many reasons. One of them was that all it really required was me, a pencil and a pad. It was something I was passionate about, and still am.
I was a hyperactive kid, and it took awhile for me to find the right teacher. My master was a Shaolin kung fu teacher, but he also taught tai chi, Chinese medicine, brush painting - he was adept at all facets of Chinese culture.
If you create something, whether it's a painting or a company, I think if you care about it, you have some obligation to go out and tell people about it.
To some extent, the act of creation and the act of selling are hard to disentangle. If you create something, whether it's a painting or a company, I think if you care about it, you have some obligation to go out and tell people about it.
I'm never interested in the painting being a mirror to culture. I think that's really boring. What I'm interested in is painting as an affective space. The place where the hierarchies of the world can be rearranged within the space of a painting. And they can be articulated in different ways.
I like the feeling of not knowing where to look when you are only performing for one person or watching someone practice. It creates this kind of a strange in-between, which can be mirrored in the feeling of making a painting.
There are a lot of artists in Gowanus, and certain things come into your visual vocabulary from living there - the scale of the subway and the canal, sometimes it almost looks like a de Chirico painting, with the intense angles of the shadows and everything.
That's when I feel really excited about a painting. When it starts to feel real, when it feels like it has a personality.
When you're a fledgling youth-type adult, it appears that all people in their 40s look old enough to be in a painting hanging on the wall of a stately home in England. It's not until you limp into your 70s that people in their 40s look too young to vote, and college cheerleaders closely resemble Yorkshire terriers.
Love is important. I didn't have the energy to be giving it to somebody else in a way that they deserved, and I knew that. So I've always been scared to go too far with somebody I care for because I knew there would come a day when I'd need to pick up and finish a painting for the next three months. That day is inevitable.
A lot of my work is about what's abstract and what's pictorial. Is it bubblegum, or is it an abstract painting using bubblegum? The energy comes from walking that line and watching things dip this way and that.
Coming out of college with a degree in fine arts and painting isn't worth much any more.
When I'm not painting, I'm Oujia-boarding with my photos. I'll sort through my pictures, put them in different folders, and come back months later to one in particular and try to figure out why I took it.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.
A painting probably is the most shocking increase in value, from what it costs to make to what you sell it for.
Don't get me wrong, I like to have a good party sometimes. But I really like having my friends over, cooking for them, dancing and then doing some painting.
I always sang. I wanted to be in a band with my sister, and I was, at 11. At 12, I started writing seriously, and that was my pacifier all through high school - that and painting.
A painting is a symbol for the universe. Inside it, each piece relates to the other. Each piece is only answerable to the rest of that little world. So, probably in the total universe, there is that kind of total harmony, but we get only little tastes of it.
We have as many planes of speech as does a painting planes of perspective which create perspective in a phrase. The most important word stands out most vividly defined in the very foreground of the sound plane. Less important words create a series of deeper planes.
If the world could remain within a frame like a painting on the wall, I think we'd see the beauty then and stand staring in awe.
My secret pleasure is painting these little mini figures that you send into battle - they're called Warhammer figures. It's the nerdiest thing in the world, but it's a lot of fun. It's relaxing; that's the main reason I do it.
Photography, sculpture, and painting were wielded as cultural weapons over the course of generations to substantiate the idea that black people were inherently subordinate beings; they were used to make slavery acceptable and to make black subjugation more palatable.
No one is an artist unless he carries his picture in his head before painting it, and is sure of his method and composition.
I do have a dream, a painting, the baths of La Grenouillere for which I've done a few bad rough sketches, but it is a dream. Renoir, who has just spent two months here, also wants to do this painting.
My struggle has been to return painting to the tangible object, which is like returning the personality to touching and feeling the world around it, to offset the tendency to vagueness and abstraction. To remind people of practical activity, to suggest the sense and not to escape from the senses.
I like to treat paint as material - to daub it, drop it, let it slide. There was Action Painting, but I also compare it to paint effects found on the streets. This approach is superimposed on a sculptural surface that is also 'painterly.'
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.
Painting is a lie. It's the most magic of all media, the most transcendent. It makes space where there is no space.
I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.
Painting does what we cannot do - it brings a three-dimensional world into a two-dimensional plane.
When you're telling stories, you are actually trying to illuminate some portion of the truth in an artful way. The story may immediately seem to be a lie, but it's like an impressionistic painting - you see the light and the color better than you would with a photo-realistic piece.
There is no such thing as Christian art or secular art - writing, painting, drawing, whatever it is.
When I was 18, I lived in Greenwich Village, New York, for nine months. At that time, I wanted to change the world, not through architecture, but through painting. I lived the artist's life, mingling with poets and writers, and working as a waiter. I was intrigued by the aliveness of the city.
Most people wouldn't guess, but I'm really into painting: acrylics and sometimes oils.
No hidden talents, but I have a lot of hobbies. Acrylic painting - I got a whole set, and I light candles at night and sit there and paint and look out on Lake Michigan.
Art is supposed to hold up a mirror to its audience and ask, 'What do you believe? What do you think? What do you feel?' and if you look at a painting and it makes you feel nothing, that's a feeling as well.
No one blames themselves if they don't understand a cartoon, as they might with a painting or 'real' art; they simply think it's a bad cartoon.
When I was painting in art school - and I think many painters in the 1980s worked similarly - a finished painting would often be constructed from lots of other paintings underneath. Some of these individual layers of painting were better than others, but that was something that you would often only realise retrospectively.
I spend as much time as I can in my garden, and if I'm not writing songs or gardening, I'm painting.
If you over-think, it affects things too much; I work instinctively, like painting in a way. Think too much, and you ruin everything.
We share a huge visual memory bank, mostly through painting and other images in history. I think when a modern photograph taps into those, sometimes very subliminally, it makes people respond.
I love to play with textures and colors. I mix them together like I would in a painting.
I'm quite sure that all true professional artists, of every description, in all walks of life, whether their craft is painting, music, sculpture, medicine or anything, have one primary concern - mankind.
My mother was the most creative, fantastic person and would come up with great things for us to do. She'd buy art supplies and all of us would sit around painting. I was lucky.
I have ADD or something. Even when I am doing something, it's me on the computer, I'm painting and I'm writing music. I have to rotate what I'm doing every 15 minutes.
There's this inherent screenplay structure that everyone seems to be stuck on, this three-act thing. It doesn't really interest me. To me, it's kind of like saying, 'Well, when you do a painting, you always need to have sky here, the person here and the ground here.' Well, you don't.
I always see my songs in colors, and I'm often more inspired by movies and photographs than I am by other songs when I write my music. I'm also inspired by fashion, and I want my music to be a visual painting of what's in my mind.
I have always loved science, but I have always loved the arts - drawing, painting and, yes, writing - more.
I'm inspired by art - in whatever form it takes. I love when I see a painting or a photograph that captures my attention.
I think social media is painting an unattainable picture of perfection.
Each movie you do about a real person is like a painting, and you choose certain things in the painting that you want to pull out and you want to show.
I love Monet - I've nicknamed him King Blob. When you go up to the painting, it's a series of blobs - amazing.
The goal is always to make a nice tableau painting with the voice. The more color I can find, the more shadow I can find - the goal is always to make more nuance and colors.
I have always wanted to make paintings that are impossible to walk past, paintings that grab and hold your attention. The more you look at them, the more satisfying they become for the viewer. The more time you give to the painting, the more you get back.
I often avoid using the terms 'figuration' and 'abstraction' because I've always tried to have it both ways. I want the experience of looking at one of my paintings to be similar to the process of making the painting - you go from the big picture to something very intense and detailed, and then back again.
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.
I'm very interested in the language of photography in relationship to painting.
I have a Damien Hirst spot painting which I love. It has pride of place over my dining-room table.
Pablo Picasso would paint a painting and hang it on the wall, and you would go and see the painting exactly how he wanted it to be made. But if you have an idea for a TV show, for example, you're beholden to studios to produce it and distributors to distribute it.
If he sees nothing within, then he should stop painting what is in front of him.
I don't get my inspiration from books or a painting. I get it from the women I meet.
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.
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