Quotes About Painting

I was always interested in drawing and painting. I enrolled in college to study painting. But I didn't have any livelihood when I graduated. My mother died very young, and I didn't have any home, so I had to find a way to earn a living. It seemed to me that photography - to the great disappointment, I have to say, of my painting teacher - could offer that. So I went and did a degree in photography, and then after that I could go out and get paid for work. For portraits, things like that.

life's kind of like a painting. A really bizarre, abstract painting. You could look at it and think that all it is, is a blur. And you could continue living your life thinking that all it is, is just a blur. But if you really look at it, really see it, focus on it, and use your imagination, life can become so much more. The painting could be of the sea, the sky, people,buildings, a butterfly on a flower, or anything except the blur you were once convinced it was.

I was at an art museum with my parents, and was quite taken with a [Vincent] Van Gogh painting. I stood admiring the painting for some time, and then realized that in addition to feeling moved by the beauty of the painting, I felt a little jealous of the painter.

I needed an outlet in high school and came across painting. I've actually been painting longer than I've been acting. A movie is a collaborative effort, and with painting you just have yourself.

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.

In every painting, as in any other work of art, there is always an IDEA, never a STORY. The idea is the point of departure, the first cause of the plastic construction, and it is always present all the time as energy creating matter. The stories and other literary associations exist only in the mind of the spectator, the painting acting as the stimulus.

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?

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

The world will not give you an endowment for your finger-painting. Your finger-painting may be marvelous, but our government and society do not value art adequately. We should fulminate against that and seek to change it, but in the meantime you have to make choices. If you're an artist who likes to have a steady income for yourself, for your children, for your partner, to help you engage in elder care as you take care of your parents or grandparents, that's a good thing.

Could you imagine people eating a painting - if they could introduce a painting into their bodies? It's probably the artist's dream, and we have the opportunity to do so.

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.

I don't know any artists or painters, like, "Oh that painting group." I want to write down this idea of a group of artists who treat it like a band. Like, "Who made the painting?" "All four of us did."

While painting I noticed a piece of madras cloth on the floor. As usual, my mind started working overtime and a pair of scissors and a small amount of glue later...I created THE COMEDIAN. Everybody loved the uniqueness of the painting. It was indeed a hit.

All my life I have painted pictures so that certain people would drop dead when they looked at them, but I have not succeeded yet. The worst painting cant hurt you, but a bad driver can kill you, a bad judge can send you to the chair, a bad politician can ruin an entire country, That is why even a bad painting is sacred.

I think that time moves slower in painting. And maybe that accounts for a lot of the anxiety around painting in the last 40 or 50 years.

In old times men used their powers of painting to show the objects of faith, in later times they use the objects of faith to show their powers of painting.

It's not a matter of painting life, it's a matter of giving life to painting.

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.

A painting is music you can see and music is a painting you can hear.

I never want to stop painting. I'm 94 now. What's my secret? I just keep thinking about the painting I'm going to do tomorrow.

I went to art school, and every Tuesday and Friday we drew the nude. If you look at Western painting, male and female nudes are in the center of every painting. It's difficult and exciting to draw the nude. Why get so upset about this? It's our duty to break taboos.

A lot of what I do is about being in the moment and I think that's hard for people to get. I like it when things suddenly affect the painting. I mix up this red and it affects the whole painting or this little bit of white falls down there, and something changes the whole nature of the thing. The residue on what happens, that's what's in the paintings.

When I was first painting the Monopoly guy I received a criticism. People said, "You're just painting cartoon characters, anyone can do that," but I'm actually a very skilled artist. That's why I released a Jack Nicholson portrait right after that that was very detailed in the face to show my skills.

I would always be painting and drawing. If I was stuck at home, I was in the basement working on a painting.

While it may seem a little mundane, the material realities of realizing the painting actually have a lot to do with how you should read the painting. For example, we assume that what the model is wearing is what we found him in in the streets. No; in fact, a lot of what happens is that in Photoshop certain aspects are being heightened or diminished. There is no actual material truth in these paintings.

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

Contradictions of perspective. Contrasts of light. Contrasts of form. Points of view impossible to achieve in drawing and painting. Foreshortenings with a strong distortion of the objects, with a crude handling of matter. Moments altogether new, never seen before compositions whose boldness outstrips the imagination of painters Then the creation of those instants which do not exist, contrived by means of photomontage. The negative transmits altogether new stimuli to the sentient mind and eye.

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.

Each moment of your life is a brush stroke in the painting of your growing career. There are the bold, sweeping strokes of one increasing, dynamic purpose. There are the lights and shadows that make your life deep and strong. There are the little touches that add the stamp of character and worth. The art of achievement is the art of making life-your life-a masterpiece.

A painting is a collection of a series of corrections.

You say grace before meals. All right. But I say grace before the concert and the opera, and grace before the play and pantomime, and grace before I open a book, and grace before sketching, painting, swimming, fencing, boxing, walking, playing, dancing and grace before I dip the pen in the ink.

The problem of a painting is physical and metaphysical, the same as I think life is physical and metaphysical.

Getting plastic surgery in your late 70's, it's kind of like painting your house as the fire approaches. Just die, there's no shame in it.

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.

Cinema is a kind of pan-art. It can use, incorporate, engulf virtually any other art: the novel, poetry, theater, painting, sculpture, dance, music, architecture. Unlike opera, which is a (virtually) frozen art form, the cinema is and has been a fruitfully conservative medium of ideas and styles of emotions.

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.

Once you realize that the world is your own projection, you are free of it. You need not free yourself of a world that does not exist, except in your own imagination! However is the picture, beautiful or ugly, you are painting it and you are not bound by it. Realize that there is nobody to force it on you, that it is due to the habit of taking the imaginary to be real. See the imaginary as imaginary and be free of fear.

When van Gogh paints sunflowers, he reveals, or achieves, the vivid relation between himself, as man, and the sunflower, as sunflower, at that quick moment of time. His painting does not represent the sunflower itself. We shall never know what the sunflower itself is. And the camera will visualize the sunflower far more perfectly than van Gogh can.

In the end, the gesture of painting becomes almost meditative, like a ritual.

"Nothing ever happens like you imagine it will," she says. The sky is like a monochromatic contemporary painting, drawing me in with its illusion of depth, pulling me up. "Yeah, that's true," I say. But then after I think about it for a second, I add, "But then again, if you don't imagine, nothing ever happens at all."

A painting has a lot of advantages over other forms of communication. Unlike a movie, you don't have to put it into a machine and turn it on. It's just there every day. It's not limited by the element of time. It's a constant part of the home.

There is nothing harder to learn than painting and nothing which most people take less trouble about learning.

As a child growing up among artists I learned to think of a picture not as a finished product exposed for the admiration of the virtuosi, but as the visible record, lying about the house, of an attempt to solve a definite problem in painting.

For pure joy, I look at a small painting by Arbit Blatas. An ocean liner is at the center of the composition, perhaps ready to depart. It holds the promise of discovery.

Leisure, itself the creation of wealth, is incessantly engaged in transmuting wealth into beauty by secreting the surplus energy which flowers in great architecture, great painting and great literature. Only in the atmosphere thus engendered floats that impalpable dust of ideas which is the real culture. A colony of ants or bees will never create a Parthenon.

As music is the poetry of sound, so is painting the poetry of sight and the subject-matter has nothing to do with harmony of sound or of color.

The painting is usually finished before you are.

The intellectual attainments of a man who thinks for himself resemble a fine painting, where the light and shade are correct, the tone sustained, the colour perfectly harmonised; it is true to life. On the other hand, the intellectual attainments of the mere man of learning are like a large palette, full of all sorts of colours, which at most are systematically arranged, but devoid of harmony, connection and meaning.