Quotes About Painting

When I look at a painting it isn't only the painting I see but the thing that I am. If there is more in the painting that I am, then I won't see it.

I just realized that I never look at a painting and ask, 'Is this painting fictional or non-fictional?' It’s just a painting.

Painting is traditional but for me that doesn't mean the academy. I felt a need to paint; I love painting. It was something natural - as is listening to music or playing an instrument for some people. For this reason I searched for themes of my era and my generation. Photography offered this, so I chose it as a medium for painting.

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!

There's a difference between craft and painting. Craft, your job is to make it exactly the same every time. Painting is the opposite, but in painting there is some craftsmanship, which is called technique. But technique is spontaneous. That's the treasure, the most important part. You are in it.

Painting is an illusion, a piece of magic, so what you see is not what you see. I don't know what a painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere.

...if photos can reproduce the world more perfectly than any painter, can capture an instant, a look, a gesture, then what makes a painting good anymore? Painting subverts this subversion of its traditional nature by redefining itself - art is idea, not simply skillful execution. So, a work can be crudely made, or even machine made - but it has to be practically and functionally useless.

What interested me in film was the image-making aspect of it. So, I went to school in cinematography. I was really convinced that image was what I wanted to do, and I think it came from the fact that I lived in a small town my whole life, but my mother was very interested in painting, so she would bring us to Paris for two weeks. So, we're going to the Louvre and to the museums and to see shows. In the evening we were seeing theater. Painting is basically what led me. I think the image was key.

I'm not particularly interested in painting, per se. I'm interested in a painting that has that mysterious life to it. Anything that doesn't partake of that magic is halfway dead - it returns to its physical elements, it's just paint and canvas.

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.

Painting to me is addictive. These are moments when it is inspiring, but they are few and far between. I keep my tools sharpened for the moment when things do start clicking, but that doesn't happen a lot. I really have to push myself sometimes. Painting is a profession in which it is very easy to be lazy, particularly if you have any degree of success.

The frame is the pimp of painting; it enhances it, but it must never shine at the painting's expense.

All painting, no matter what you are painting, is abstract in that it's got to be organized.

When I was doing just the underwater, I don't think people could relate to it at first. Then I added the land, which was a painting called, Two Worlds. For some reason that particular painting gave people something to hold onto.

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.

On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.

It's Frank's painting on the cover. We were originally going to use a Salvador Dali painting that we got permission from Salvador Dali to use, and Frank found this one, and it really did fit the music much more.

Painting is like breathing to me. It’s what I do all the time. Every day I make art, whether it is painting, writing or making a movie.

Something in me knows where I’m going, and - well, painting is a state of being. ... Painting is self-discovery. Every good artist paints what he is.

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.

You're going to react to a painting in a way that the painting demands you react.

Painting is the only universal language. All nature is creation's picture book. Painting alone can describe every thing which can be seen, and suggest every emotion which can be felt. Art reaches back into the babyhood of time, and is man's only lasting monument.

I think everyone on the planet is a fan of a painting because everyone is a fan of visual stimulation, but I've had freedom in the world [of painting] because I've kept it to myself.

I started getting really curious about art. I read about the Dadaists and the Futurists and the Constructivists - those kind of movements which were reflecting the angst of the people of their times. Their work was trying to lead a movement. I began thinking about what was happening, with painting on the streets and painting on the trains as being similar but also coming from a real, pure space. It wasn't being created by academies. It was a spontaneous combustion of ideas that just happened.

There are three forms of visual art: Painting is art to look at, sculpture is art you can walk around, and architecture is art you can walk through

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.

The fact that people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions.. the people who weep before my pictures are having the same religious experience I had when painting them. And if you say you are moved only by their color relationships then you miss the point.

A painting to me is primarily a verb, not a noun, an event first and only secondarily an image.

I influenced the BG style by not being able to draw perspective. The BG artists developed cool graphic painting styles to make my bad backgrounds look like they were that way on purpose.

I love the trick of painting. You can have the movement within the still thing, but it is completely fixed. And that illusion is constantly exciting.

Fashion, at modern time, was actually a way for women to go out in the world. There was one painting of a woman sitting at a café, drinking a beer by herself and kind of pretending to read but really watching people, that sort of thing. It fascinated me.

There are teachers and students with square minds who are by nature meant to undergo the fascination of catagories. For them, 'schools' and 'movements' are everything; by painting a group symbol on the brow of mediocrity, they condone their own incomprehension of true genius.

I grew up painting and playing piano so when I was a little kid I thought I was going to be an artist or a painter but my mom had me taking piano lessons for about 10-12 years as a young kid.

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.

One of the reasons that I went to Mexico aside from the Maya and the pre-Columbian aspect of it was that I wanted to work with [Diego] Rivera, which I did, on a mural that he was painting at the time. But at some point I realized that I wasn't going to be a political artist, it just wasn't in my repertoire.

I know a painting so evanescent that it is seldom viewed at all except by some wandering deer. It is a river who wields the brush and it is the same river who before I can bring my friends to view his work erases it forever from human view. After that it exists only in my mind's eye.

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 an object, but it's also a voice. I don't see them as objects; I see them as voices.

Simplicity is always the secret, to a profound truth, to doing things, to writing, to painting. Life is profound in its simplicity

To a large extent, the problems of poets are the problems of painters, and poets must often turn to the literature of painting for a discussion of their own problems.

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.

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.

Painting is at once a form of meditation and an utter, complete personal engagement with life.

Simultaneous contrast is not just a curious optical phenomenon - it is the very heart of painting.

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

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.

[King René of Anjou (1409-80)] would not listen to the news of his son having lost the Kingdom of Naples, because he would not bedisturbed when painting a picture of a partridge.

I practice the artist's golden rule. I wouldn't want somebody telling me how to finish my painting, I'm not going to tell him how to finish his movie or how to shape his movie.