Quotes About Painting

When I am in a painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc, because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.

There are absences, but there are also presences. It's about how painting can evolve its own abstractions. I didn't know the painting was going to be about that, but it has to have that journey; I have to learn something, I have to end up somewhere I didn't expect to be, otherwise, I don't think it's painting.

I bought a painting in Madrid on my first trip there too and a lot of people say, 'Well it's not the greatest painting' and I say, 'It is to me.' OK, you can look at a beautiful painting and say, 'That's beautiful' but to me, it feels warmer to fill my home with pictures of friends and family and paintings of places I've gone. That's what I want to come home to.

That sculpture is more admirable than painting for the reason that it contains relief and painting does not is completely false. ... Rather, how much more admirable the painting must be considered, if having no relief at all, it appears to have as much as sculpture!

A lot of young painters love to incorporate celebrity. One idea of being a painter is to use what's happening at the time. Velázquez was painting of his time. And so was Rembrandt. And Francis Bacon was painting his time in London. He was a real mover, but he saw the insect in the rose. But yes, when I do a painting, I want to take the "I did this" out of it. That's why I started using chance, like the markings on the wood. I never wanted to compose.

After tea it's back to painting - a large poplar at dusk with a gathering storm. From time to time instead of this evening painting session I go bowling in one of the neighbouring villages, but not very often.

Art has become more than painting, sculpture or music: art is more than Van Gogh painting a landscape or Wagner composing an opera. The whole of reality itself has become the object of art.

Painting is self-discovery. You arrive at the image through the act of painting.

All art began as sacred art, you know? I mean, all painting began as religious painting. All writing began as religious writing.

Initially I explored the tension between illustration and fine art when I first encountered miniature painting in my late teens. Championing the formal aspects of the Indo-Persian miniature-painting genre has often been at the core of my practice.

I liked drawing and painting, because the only failure would be to listen to the doubters who wanted me to stop drawing and painting because 'you aren't going to make a living doing that.' I liked looking in art books at the work of painters.

In the back of every painting there's an entire universe that makes it possible for the painting to be there: an army of conservators, technicians, people who maintain these things, the market.

I have a fairly unwieldy set of concerns that go into determining what I do in the paintings, such as the history of the decorative, patterns of cultural migration, Islamic art and design, Byzantine architecture, the annals of natural history, as well as contemporary painting. All of these things are filtered through my own sense of cultural urgency. How I proceed with the work has to do with how I respond to this instinctively chosen mass of materials. I'm weighing many things and making many decisions before I even get started on a painting.

The merit of painting lies in the exactness of reproduction. Painting is a science and all sciences are based on mathematics. No human inquiry can be a science unless it pursues its path through mathematical exposition and demonstration.

It is not about painting life, it is about making painting alive.

In part of Lord Kames' Elements of Criticism, he says that "music improves the relish of a banquet." That I deny,--any more than painting might do. They may both be additional pleasures, as well as conversation is, but are perfectly distinct notices; and cannot, with the least propriety, be said to mix or blend with the repast, as none of them serve to raise the flavor of the wine, the sauce, the meat, or help to quicken appetite. But music and painting both add a spirit to devotion, and elevate the ardor.

The explanation of the propensity of the English people to portrait painting is to be found in their relish for a Fact. Let a man do the grandest things, fight the greatest battles, or be distinguished by the most brilliant personal heroism, yet the English people would prefer his portrait to a painting of the great deed. The likeness they can judge of; his existence is a Fact. But the truth of the picture of his deeds they cannot judge of, for they have no imagination.

Each painting has its own way of evolving. When the painting is finished, the subject reveals itself.

What most paintings do is give you a path for your eye to move around. The painting actually tells your eye, go here, now go here, now go here, go here. So all you have to do is look at it, give it a few seconds, and your eye will start to move through the painting.

If a certain activity, such as painting, becomes the habitual mode of expression, it may follow that taking up the painting materials and beginning work with them will act suggestively and so presently evoke a flight into the higher state.

Painting is a kind of call and response. During the act of painting one is listening, paying attention to a self, a voice simultaneously recognizable and foreign.

There is no light painting or dark painting, but simply relations of tones.

I reduced painting to its logical conclusion and exhibited three canvases: red, blue, and yellow. I affirmed: this is the end of painting.

It's not about perfection. What's a perfect painting? What's interesting about a perfect painting?

My sister-in-law is a painter, and I'll say, how long did it take you to paint that painting. She'll say, It took me maybe three days, but it took me all my life to get the skills to paint that painting.

When we paint, whether it is on our bodies for ceremony or on bark or canvas for the market, we're not just painting for fun or profit, we're painting as we always have done to demonstrate our continuing link with our country and the rights and responsibilities we have to it.

I think I'm just generally more interested in figuration than abstraction. I think that painting abstraction often feels like painting colors to me, whereas portraits always feel like something connected. I like the exchange, the collaborative aspect of sitter and subject for sure.

One has to seek Beauty and Truth, Sir! As I always say to my pupils, you have to work to the finish. There's only one kind of painting. It is the painting that presents the eye with perfection, the kind of beautiful and impeccable enamel you find in Veronese and Titian.

If, while I'm painting, I distort or destroy a motif, it is not a planned or conscious act, but rather it has a different justification: I see the motif, the way I painted it, is somehow ugly or unbearable. Then I try to follow my feelings and make it attractive. And that means a process of painting, changing or destroying - for however long it takes - until I think it has improved. And I don't demand an explanation from myself as to why this is so.

We sat there, not talking, for a few minutes. He ate the Moon Pie; only skinny people can scarf down junk food like that. Finally, I said, "Norman?" "Yeah?" "Are you ever going to show me the painting?" "Man," he said. "You are, like, so impatient." "I am not," I said. "I've been waiting forever." "Okay, okay." He stood up and went over to the corner, picking up the painting and bringing it over to rest against the bright pink belly of one of the mannequins. Then, he handed me a bandana. "Tie that on.

If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.

The theme, or harmony, of a painting can be created by any one of its visual elements. A single colour... repetition of shapes... Light can be a theme.

There are things that music can do that language could never do, that painting could never do, or sculpture. Music is capable of going directly to the source of the mystery. It doesn't have to explain it. It can simply celebrate it.

One does a whole painting for one peach and people think just the opposite - that particular peach is but a detail.

The only thing in life that really gives me any peace is just being lost in the process of creating something, whether it's the film or painting and drawing. Whatever that is, it is what I want to do.

I first came up with the idea for the colour-chart pictures back in 1966, and my preoccupation with the topic culminated in 1974 with a painting that consisted of 4,096 colour fields. Initially I was attracted by the typical Pop Art aestheticism of using standard colour-sample cards; I preferred the unartistic, tasteful and secular illustration of the different tones to the paintings of Albers, Bill, Calderara, Lohse, etc.

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.

Well painting is certainly my main thing. I will keep doing that for the rest of my life, but if I become famous I would maybe like to experiment with acting, or I have a good voice so maybe a little bit of singing. I'm going to take singing lessons, so who knows.

Painting is something that you need to do, if not every day, then certainly most days. It is almost like being a pianist: if you stop, you lose something.

All great questions must be raised by great voices, and the greatest voice is the voice of the people - speaking out - in prose, or painting or poetry or music; speaking out - in homes and halls, streets and farms, courts and cafes - let that voice speak and the stillness you hear will be the gratitude of mankind.

Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts. Only then will their work be imbued with the architectonic spirit which it has lost as salon art. Together let us desire, conceive, and create the new structure of the future, which will embrace architecture and sculpture and painting in one unity and which will one day rise toward heaven from the hands of a million workers like the crystal symbol of a new faith.

Think of the centre of interest in a painting as you would read it in a novel or see it in a movie. The crisis or climax is that point when you simply can't put the book down or wouldn't dare leave the movie, for whatever reason.

When Michelangelo finished the painting of the Sistine Chapel's ceiling, he spent the rest of his life trying to remove the paint that had poured into his sleeve.

Painting is a nail to which I fasten my ideas.

One teacher told me that my work belonged in the trash. That day I ran out of the classroom and ended up in the library, where there happened to be a black and white photography exhibition of Robert Rauschenberg's photographs of the streets of New York. The subject of his photos were exactly what I was painting about.

Painting keeps me occupied in those moments when travel can be aimless and even disorienting. Mainly it is a way to register at least some of the new impressions of a foreign place, when its thrilling barrage can sometimes overwhelm you.

What is more natural in a democratic age than that we should begin to measure the stature of a work of art-especially of a painting-by how widely and how well it is reproduced?

I don't have a lot of pressure on myself to be successful. I'm more of an artist. I just try to make myself more a part of the most beautiful painting as possible. And enjoy it.