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.

One learns about painting by looking at and imitating other painters. I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting.

Sometimes you look at a painting and certain parts are so beautiful. You say, "Wow, this is fantastic," but 10 minutes later you most likely have to kill it. Every painting wants to live. You want to build and bring this type of painting to the climax. When it's at the highest point, you want more. And then if you want more, you might destroy it. So you take a chance.

We struggle against easel painting not because it is an aesthetic form of painting, but because it is not modern, for it does not succeed in bringing out the technical side, it is a redundant, exclusive art, and cannot be of any use to the masses. Hence we are struggling not against painting but against photography carried out as if it were an etching, a drawing, a picture in sepia or watercolor.

(Landscapes) are too close to painting. And TV has nothing to do with painting. It's just transmission. And you can't transmit a landscape, happily enough.

For me, Corsica is a place that I visited with my friends, maybe five or six times over the years, and I'm so happy there that I wanted to make a painting about it almost just to share with my friends, but it's so difficult when all your feelings are one way, and they're very sort of happy and pleasant. It's impossible to make a painting about it.

Painting is a science, and should be pursued as an inquiry into the laws of nature. Why, then, may not landscape painting be considered as a branch of natural philosophy, of which pictures are but the experiments?

One has to believe in what one is doing, one has to commit oneself inwardly, in order to do painting. Once obsessed, one ultimately carries it to the point of believing that one might change human beings through painting. But if one lacks this passionate commitment, there is nothing left to do. Then it is best to leave it alone.

Being in the studio, it's more of a controlled environment, where you can be Salvador Dali and sit back and look at the painting. And you can go, 'Ah, you know what? Maybe a little bit more red over here...maybe add some blue over here.' You can sit back and look at the painting.

Like commercial stuff is sort of cheap and disposable and fun and can be sort of interesting in many ways. I love being in popular culture and existing in the evolution of popular culture. But it's so different from painting, and it's so different from that sort of slow, contemplative, gradual process that painting is.

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.

A painting is merely the image of a tree, a man, or any other object reflected in a fountain. The difference between a painting and sculpture is the difference between a shadow and the thing which casts it.

Photography is painting with light! The blurs, the spots, those are errors! But the errors are part of it, they give it poetry and turn it into painting. And for that you need as bad a camera as possible! If you want to be famous, you have to do whatever you're doing worse than anyone else in the whole world.

I'm painting an idea not an ideal. Basically I'm trying to paint a structured painting full of controlled, and therefore potent, emotion.

Remember crime against property is not real crime. People look at an oil painting and admire the use of brushstrokes to convey meaning. People look at a graffiti painting and admire the use of a drainpipe to gain access.

For me, architecture is an art the same as painting is an art or sculpture is an art. Yet, architecture moves a step beyond painting and sculpture because it is more than using materials. Architecture responds to functional outputs and environmental factors. Yet, fundamentally, it is important for me to stress the art in architecture to bring harmony.

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

Painting doesn't freeze time. It circulates and recycles time like a wheel that turns. Those who were first might well be last. Painting is a very slow art. It doesn't travel with the speed of light. That's why dead painters shine so bright.

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

Painting, like music, has nothing to do with the reproduction of nature, nor interpretation of intellectual meanings. Whoever is able to feel the beauty of colors and forms has understood nonobjective 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.

Music is an amazing thing. I don't know if we really think about it the same way we consider a painting an amazing thing. I mean, a painting is, in quotes, imaginary. There is nothing on the canvas when you start; and writing a song, there is nothing there when you start.

Self-painting is a further development of painting. The pictorial surface has lost its function as sole expressive support. It was led back to its origins, the wall, the object, the living being, the human body. By incorporating my body as expressive support, occurrences arise as a result, the course of which the camera records and the viewer can experience

People want Art. And they are given it. But the less Art there is in painting the more painting there is.

When I began as an artist, I already did not like expressionism, or abstract expressionism, because abstract painting had already been done. I did not want to belong to any one group or the other, and I'm not one or the other.

We often hear the terms 'positional' and 'tactical' used as opposites. But this is as wrong as to consider a painting's composition unrelated to its subject. Just as there is no such thing as 'artistic' art, so there is no such thing as 'positional' chess.

Painting is not done to decorate apartments. It is an instrument of war.

The act of painting is about one heart telling another heart where he found salvation.

My degree was in sculpture. I always think that drawing is a sculptural process. I always feel like I'm carving the image out rather than painting the image. I'm carving it out with erasers and tools like that. I've always had this fondness for sculpture.

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.

Basic research is like shooting an arrow in the air and, where it lands, painting a target.

I'd love to be considered a post-pop artist, but I love to have five or six different styles in every painting, just for the pleasure of the eye.

I build a painting by putting little marks together-some look like hot dogs, some like doughnuts.

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.

Money has lost its narrative quality the way painting did once upon a time. Money is talking to itself.

I'm glad . . . that Edison didn't give up on the light bulb. That Luther refused to back down. That Michelangelo kept painting. That Lindbergh kept flying.

Well, I'm a painter, I was trained as a painter. I seem to have spent a little less time painting than I might've done. But it didn't transcend the feeling of playing at UFO and those sort of places with the lights and that, the fact that the group was getting bigger and bigger.

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.

The media ... is like an oil painting. Close up, it looks like nothing on Earth. Stand back and you get the drift.

Growing up in Northern Ontario provided me with a strong affinity for the natural environment that was so eloquently responded to by Tom Thomson and his colleagues. The concept of this painting grew out of a number of forays into Algonquin over the years. From its conception I intended Algonquin to be a subtle tribute to Tom Thomson. But I also wanted it to be a response to the natural beauty that so typifies the grandeur of Ontario’s first provincial park.

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.

The greatest work of an artist is the history of a painting.

Simultaneous contrast is not just a curious optical phenomenon – it is the very heart of painting. Repeated experiments with adjacent colors will show that any ground subtracts its own hue from the colors which it carries and therefore influences.

All gardening is landscape painting,' said Alexander Pope.

Does any art have a practical value? People love to talk about how expensive a painting is. That's the only way we can talk about paintings in this century.

Apart from painting and gardening, I'm not good at anything.

All my album artwork is body painting.

I wanted to make a cinema of ideas, not plots, and to use the same aesthetics as painting, which has always paid great attention to formal devices of structure, composition and framing.