Quotes About Painting

The true essence of Chinese culture is sophistication, refinement, the spirit of poetry. The spirit of ink painting and calligraphy lives on forever. Calligraphy is more important than painting. Chinese always consider nature. Man is a very small part of nature. That's why in Chinese painting you see huge mountains and man very small, very humble before nature. You must be harmonious and one with nature. You don't fight it. And then there's a bit of a poetry. Of course, it's very complicated, but also very simple.

My paintings are well-painted, not nimbly but patiently. My painting contains in it the message of pain. I think that at least a few people are interested in it. It's not revolutionary. Why keep wishing for it to be belligerent? I can't. Painting completed my life. I lost three children and a series of other things that would have fulfilled my horrible life. My painting took the place of all of this. I think work is the best.

People want to know those details. They think it gives them greater insight into a piece of art, but when they approach a painting in such a manner, they are belittling both the artist’s work and their own ability to experience it. Each painting I do says everything I want to say on its subject and in terms of that painting, and not all the trivia in the world concerning my private life will give the viewer more insight into it than what hangs there before their eyes. Frankly, as far as I’m concerned, even titling a work is an unnecessary concession.

If I go to the National Gallery and I look at one of the great paintings that excite me there, it's not so much the painting that excites me as that the painting unlocks all kinds of valves of sensation within me which return me to life more violently.

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.

I made work specifically for them not to like. If you made paintings of flowers and someone says they hate it, it's like, "What do you mean? It's a flower!" But if you make a painting of your name and somebody says they hate it, it's like, "Well, why would you like a painting of my name anyway?"

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.

At some point I realized that the text was the painting and that everything else was extraneous. The painting became the act of writing a text on a canvas, but in all my work, text turns into abstraction.

Help people to meditate, because there is nothing more creative than meditation. Each art and each creativity can be tremendously enhanced by meditation. If somebody is a painter and he starts meditating, his painting will have a sudden jump, it will become tremendously profound - because whatsoever you paint reflects your mind. If the mind goes deeper, your painting will go deeper. You paint your mind. What else can you paint? You paint yourself.

Objective painting is not good painting unless it is good in the abstract sense.

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

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.

The muscularity in my paintings is only an expression of the spirit within. When I paint Nephi, I'm painting the interior, the greatness, the largeness of spirit. Who knows what he looked like? I'm painting a man who looks like he could actually do what Nephi did.

Painting is a duality and abstract painting is an entirely aesthetic thing. It always remains on one level. It is only really interesting in the beauty of its patterns or its shapes.

I loved surrealism and abstract painting, and anything related to those. I always thought painting was the highest form of art. What led me to drawing was seeing so much self-important, pretentious, conceptual-type art in university. I wanted to reject that by making quick, fun art.

When we talk about Orientalist painting, we're talking about painting generally from the seventeenth through the nineteenth century, and some would say even into the twentieth, that allows Europe to look at Africa, Asia Minor, or East Asia in a way that's revelatory but also as a place in which you can empty yourself out. A place in which there is no place. It's an emptiness and a location at once.

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

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.

Use your blood to paint. Keep painting until you faint. Keep painting until you die.

Painting is something that takes place among the colors, and one has to leave them alone completely, so that they can settle the matter among themselves. Their intercourse: this is the whole of painting. Whoever meddles, arranges, injects his human deliberation, his wit, his advocacy, his intellectual agility in any way, is already disturbing and clouding their activity.

I am after painting reality impressed on the mind so hard that it returns as a dream, but I am not after painting dreams as such, or fantasy.

Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen.

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.

When I'm teaching, I tell the story of this painting for two reasons. First of all, if you want a good solid color structure, you have to have a solid development in values, dark and light. Second, if you have a good design, don't leave it if you fail to render it to its full extent the first time around. Remember it's the design that's important. Try and try till you get the thing to work. That's why The Pattern Makers is a key picture in my painting career.

I realized painting could look like a film, and a film like a painting.

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.

Painting is the supreme form of expression; you don't need to 'read' painting.

There is a kinship between music and painting - with the same words used to describe both, as when a musical composition is said to have color and a painting to have rhythm.

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.

This is the essential distinction--even opposition--between the painting and the film: the painting is composed subjectively, thefilm objectively. However highly we rate the function of the scenario writer--in actual practice it is rated very low--we must recognize that the film is not transposed directly and freely from the mind by means of a docile medium like paint, but must be cut piece-meal out of the lumbering material of the actual visible world.

Painting is the subject of painting.

After my divorce, painting took me out of panic mode and into a serene, calm place. I could absolutely lose myself.

I think that the sheer fact that music can raise certain questions or put topics on the agenda has in itself already an effect. Just like any other art of cultural expression can do that - books, films, photos, painting - it can bring people together who share certain ideals, who don't find their ideas expressed properly, or even expressed at all, in the mainstream media.

Painting is something that takes place among the colors.

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.

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.

I'm not interested in 'abstracting' or taking things out or reducing painting to design, form, line, and color. I paint this way because I can keep putting more things in it - drama, anger, pain, love, a figure, a horse, my ideas about space. Through your eyes it again becomes an emotion or idea.

Painting allows me to use other portions of my brain pleasurably. Irony plays no part in what or how I paint. I paint the particular subject matter not to make polemical points but because I am interested in the human imprint on the landscape. I paint the landscape of my time and place with the stuff in it.

Though painting borrows help indeed from colours... it has nothing more wide of its real aim or more remote from its intention than to make a show of colours... to raise a separate and flattering pleasure to the sense.

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.

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.

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 was attracted to a lot of different art forms - dancing, painting. But there's something about music that people hold so close. It's such a powerful art form, and that's why I live for it.

Sunlight is painting.

Both sex and death are eternal themes. You could make thousands of movies on this theme, and whether you have a human being who is painting, singing, making a film, writing, these are the themes that you will come back to and return to. If you don't have any of these artistic expressions, sex is one of the only gifts that nature gave you for free, so it is very important to celebrate it. And then, with death, we are condemned to that. This is absolutely present in our lives.

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

Painting is a nail to which I fasten my ideas.

And I like the idea of change. Because I don't see why we should hang a painting on the wall and then just not think of it anymore because it's there like a piece of furniture.