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.

Having a background in doing printmaking and letterpress, I think that I became very interested in images that were flat and graphic. And my painting still today is very flat...American craft is like that too - the painting is very flat. And also the painting that you see on the storefronts, handmade signs, tend to be very flat. That's probably my biggest influence.

Just the way you might look at a painting and see the painting, and the painting is outside you, so this immaterial intellect would see the forms and behold them, as if they were standing before it. And Plotinus said that that can't be right because it falls prey to sceptical objections.

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.

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.

There's something always instinctively visually right about nature. There's no difference, to my eye, between looking at a great painting and looking at nature. Because painting, when it's great, has the same immutable rightness, unquestioned rightness, about it.

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.

I wanted to be a visual artist, but I realized I was more affected by what I read than by what I saw. I would go to a show at a museum and look at a painting and say, 'Oh I wish I owned that,' and that would be the end of my relationship with a painting. With a short story I would read or with an author I would discover I could be haunted. It would affect my mood and affect the way that I saw the world. I thought, wow, it would be amazing to be able to do that.

I don't mean to give performance art a bad name or anything; I think there are people that are legit. I think I just got frustrated painting - I love painting; I actually tried to be an artist, but it's sensitive, and then you have an object. And what do you do with that object? And then repeat and repeat, blah blah blah.

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.

When you start a painting, it is somewhat outside you. At the conclusion, you seem to move inside the painting.

The explanation of the propensity of the English people to portrait painting is to be found in their relish for a Fact. Let a man do the grandest things, fight the greatest battles, or be distinguished by the most brilliant personal heroism, yet the English people would prefer his portrait to a painting of the great deed. The likeness they can judge of; his existence is a Fact. But the truth of the picture of his deeds they cannot judge of, for they have no imagination.

A farce is that in poetry which grotesque (caricature) is in painting. The persons and actions of a farce are all unnatural, and the manners false, that is, inconsistent with the characters of mankind; and grotesque painting is the just resemblance of this.

If a certain activity, such as painting, becomes the habitual mode of expression, it may follow that taking up the painting materials and beginning work with them will act suggestively and so presently evoke a flight into the higher state.

The transition from painter to artist comes when you cross the line of painting what you see to painting what you feel about what you see.

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.

Sometimes you need to live with a painting for a while. Starting a painting can be easy, but finishing it... that's the skill of the painter, how you finally know when it's done.

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.

Chemistry has the same quickening and suggestive influence upon the algebraist as a visit to the Royal Academy, or the old masters may be supposed to have on a Browning or a Tennyson. Indeed it seems to me that an exact homology exists between painting and poetry on the one hand and modem chemistry and modem algebra on the other. In poetry and algebra we have the pure idea elaborated and expressed through the vehicle of language, in painting and chemistry the idea enveloped in matter, depending in part on manual processes and the resources of art for its due manifestation.

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.

Photoshop came out of painting, and now it's going back to painting.

The first hope of a painter who feels hopeful about painting is the hope that the painting will move, that it will live outside its frame.

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

Every time somebody writes a theory about where literature's going, that person is not only contributing thought but nudging things to happen in one way or the other. Just as in painting, there's much more interest in the American scene painters and the early American... like the Ashcan school of painters. Who would have thought, 50 years ago, that Norman Rockwell would again be considered a serious painter? And yet, there are a lot of people who are saying Rockwell was a very accomplished technician. These things are constantly moving.

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.

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

The worlds I paint leave a lot to engage the imagination by hinting at what lies beyond the four edges of the painting.

I'm not painting myself as a down-home, modest guy.

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.

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.

Self-consciousness is the enemy of all art, be it acting, writing, painting, or living itself, which is the greatest art of all.

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.

And since geometry is the right foundation of all painting, I have decided to teach its rudiments and principles to all youngsters eager for art. . .

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

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.

Western artists stand as humans looking at nature; Asian artists try to be in nature. You become one with nature rather than painting a portrait of it. That's a big shift.

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.

When all lies, deceit, pretense is stripped away, what remains? The truth of a painting, or a book or a man.

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.

I still have agents in France, Los Angeles and Amsterdam who call and suggest parts. I'd love to keep on doing both painting and acting until the end of my days.

Painting keeps me occupied in those moments when travel can be aimless and even disorienting. Mainly it is a way to register at least some of the new impressions of a foreign place, when its thrilling barrage can sometimes overwhelm you.

Painting that does not radiate feeling is not worth looking at. The deepest-and rarest-of grown-up pleasures is true feeling.

One of the reasons I moved away from painting was because I eventually discovered that I wanted to deal more with motion, time, and performance - and that became a much bigger part of my life both as an actor and as a musician and someone who goes on stage and travels around the world and works on productions.

In the middle 1940s... I heard everyone live. Painting, the theater; everything was happening. It was an exciting time when New York was the place to be.

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.

I am very depressed and deeply disgusted with painting. It is really a continual torture.

We constantly have ideas and experiences that go beyond what we can say or know. Most often these are expressed in art, in painting, in music. Music, everyday confronts us with a form of knowing that doesn't depend on words.

Not everything in life can or should be explained. Part of every painting should be incomplete...to be completed in the mind of the viewer.