Quotes About Painting

All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.

I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.

When HSBC took the painting out of their building, they had to block the road and use a crane to bring the painting out from the window. They spent about 20,000 dollars just to get the painting out of the building! They said not to bring it back, and told Sotheby's to sell it immediately!

When I was painting in art school - and I think many painters in the 1980s worked similarly - a finished painting would often be constructed from lots of other paintings underneath. Some of these individual layers of painting were better than others, but that was something that you would often only realise retrospectively.

In fine arts, when you make a painting, it's just a painting. But if you make a painting in the entertainment industry, it can be an album cover or a t-shirt or a logo. I like that entertainment has this usefulness - that it's ultimately trying to make a bunch of people feel something, and to think about life and be able to use things that were so simple and direct but potentially have a really powerful effect.

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.

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.

When I'm painting the picture, I'm really painting a picture. I may have a flat-footed technique, or something like that, but still, to me, the thrill, or the meat of the thing, is the actual painting. I don't get any thrill out of laying it out.

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 fell in love with painting. Painting allows me to see things as I want to and not necessarily as they are, it's an escape, a way to preserve thoughts and memories, a way to create hopes and dreams. - Marina

If you go to a concert, you will notice, is it loud? Is the music fast? Is it predominately strings or brass? There are things we can all register, whether we are musicians or not. Painting's no different. Taking pleasure in projecting oneself into the painting is the act of looking. That's what looking is.

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.

In Holman Hunt's painting, "The Light of the World, "Christ is shown in a garden at midnight, holding a lantern in His left hand. With His right hand He is knocking on a heavily paneled door. When the painting was unveiled, a critic remarked to the painter, "Mr. Hunt, the work is unfinished. There is no handle on the door." "That," Hunt answered, "is the door to the human heart. It can be opened only from the inside."

A seventeenth-century painting can be "modern" because the living eye finds it fresh and new. A "modern" painting can be outdated because it was a product of the moment and not of time.

Painting is so close, so personal, so immediate, and so ordinary... It is the ordinary resurrections that define your painting.

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.

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.

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.

There are different kinds of painting, some with lights and some without, but still if you look at any painting here (in the light) and then over here (out of the light) it's an entirely different thing. The consciousness of this came to the Impressionists and I'm very interested in that.

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

At the point where I'm trying to force something and it's not happening, and I'm getting frustrated with, say, writing a poem, I can go and pick up the brushes and start painting. At the point where the painting seems to not be going anywhere, I go and pick up the guitar.

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 had the impression in art school that cartooning was thought of as a lesser art than painting because cartoons are reproduced, so the "work" is not the single thing like a painting, but instead is the reproduced image.

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.

I realized that most people waste their lives earning a living, and I wanted to live. I love painting, so I keep painting. That's how I became an artist.

If you call painting dumb poetry, the painter may call poetry blind painting.

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

A society person who is enthusiastic about modern painting or Truman Capote is already half a traitor to his class. It is middle-class people who, quite mistakenly, imagine that a lively pursuit of the latest in reading and painting will advance their status in the world.

I hope to actually get back to painting someday... soon. I sort of transitioned into cartooning from painting.

When it comes to partnership, some humans can make their lives alone - it's possible. But creatively, it's more like painting: you can't just use the same colours in every painting. It's just not an option. You can't take the same photograph every time and live with art forms with no differences.

Every single painting is different. I'm always trying to figure out what I'm interested in. Usually when I go through and I make the collages or the images for ideas that I want to paint, it's like an Ouija board. Each painting I do is trying to understand what the hell I'm looking at, or want to look at.

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

Painting is literature in colors. Literature is painting in language.

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.

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

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.

I understand - and often make fun of - the desire to run to the wall text before running to the painting.

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.

We could say that Romanian Onirisme was born from painting and not from surrealist literature. The visual is primordial. Dimov said, 'Dreams are not a source, but a canon, a legislative model.'

Life matters more than any painting, novel, film, or great big diamond.

My movement from painting to film was a very conscious one.

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.

My mother was the most creative, fantastic person and would come up with great things for us to do. She'd buy art supplies and all of us would sit around painting. I was lucky.

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.

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

I use those expectations as a color on my palette, a certain temperature in the room. You can use those expectations for the great punchline, but also for a great painting, in society.

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.

Colors in painting are as allurements for persuading the eyes, as the sweetness of meter is in poetry.