Quotes About Painting

I'm not anti conceptual art. I don't think painting must be revived, exactly. Art reflects life, and our lives are full of algorithms, so a lot of people are going to want to make art that's like an algorithm. But my language is painting, and painting is the opposite of that. There's something primal about it. It's innate, the need to make marks. That's why, when you're a child, you scribble.

It was a figure painting class, where you had a model, and [Robert von Neumann ] would wander around and he'd come up behind someone and say, "Well, what are you trying to do?" And if you told him what you were trying to do, he would then proceed to discuss this with you and suggest things that you might look at and ways in which you could improve what you were attempting to do, etc - never worked on your painting, never touched your painting but talked extensively about what you were trying to do.

Painting from life was incredibly important for me because it allowed me to train my eyes to see everything that is there. But I realized early on that painting from life wasn't something that I was all that invested in. I was always more interested in the painting than I was the people. For me, removing that as a compulsion offered me a lot more freedom to actually paint and think about color, form, movement, and light.

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.

While a painting, even one that meets photographic standards of resemblance, is never more than the stating of an interpretation, a photograph is never less than the registering of an emanation (light waves reflected by objects) — a material vestige of its subject in a way that no painting can be.

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.

When I'm painting, I'm not aware of what I'm doing. It's only after a get acquainted period that I see what I've been about. I've no fears about making changes for the painting has a life of its own.

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

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.

A painting is finished when the subject comes back, when what has caused the painting to be made comes back as an object.

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 the back of every painting there's an entire universe that makes it possible for the painting to be there: an army of conservators, technicians, people who maintain these things, the market.

What I think confuses things is when people approach painting as an inherently expressive or personal medium. We still tend to have this expectation of purity with painting, this idea not only that the artist must be reflected in his or her canvases, but more importantly, that this is where one finds meaning.

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.

I am painting with the same enthusiasm as a Marseillaise eats bouillabaisse ... I am painting big sunflowers.

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

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

Painting is a kind of call and response. During the act of painting one is listening, paying attention to a self, a voice simultaneously recognizable and foreign.

Painters should shut up and paint and when we stop painting we should dance or have sex or get a massage or take a shower and we shouldn't be talking about painting.

One thing that really interests me is-and it comes out of Chinese and Japanese painting-where you have a number of different kinds of space in the same painting. You have a kind of deep space, and then you have something like right up on the surface.

Once music ceases to be ephemeral - always disappearing - and becomes instead material... it leaves the condition of traditional music and enters the condition of painting. It becomes a painting, existing as material in space, not immaterial in time.

The theme, or harmony, of a painting can be created by any one of its visual elements. A single colour... repetition of shapes... Light can be a theme.

If you create something, whether it's a painting or a company, I think if you care about it, you have some obligation to go out and tell people about it.

When I began as an artist, I already did not like expressionism, or abstract expressionism, because abstract painting had already been done. I did not want to belong to any one group or the other, and I'm not one or the other.

When I look at a body it gives me choice of what to put in a painting, what will suit me and what won't. There is a distinction between fact and truth. Truth has an element of revelation about it. If something is true, it does more than strike one as merely being so.

With abstract work, I never was quite sure what it was that felt right about the painting, but I did know that I responded to it and I liked whatever it was offering me.

Painting, I think it's like jazz.

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.

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

Well painting is certainly my main thing. I will keep doing that for the rest of my life, but if I become famous I would maybe like to experiment with acting, or I have a good voice so maybe a little bit of singing. I'm going to take singing lessons, so who knows.

This is what the Democrats are fighting for. They're fighting for you not to have a job and still have health care so you can pursue your entrepreneurial risk of writing, painting, taking pictures. It's just such a pain in the rear end to have to have a job. It's so damn mean of this country to require people to have a job. It stifles people. It stifles creativity and economic growth to require people to have a job, to have health care. What a country. Man, are we horribly rotten mean to people.

I don't have a lot of pressure on myself to be successful. I'm more of an artist. I just try to make myself more a part of the most beautiful painting as possible. And enjoy it.

Cinema doesn't connect with the body as artists have in two thousand years of painting, using the nude as the central figure which the ideas seem to circulate around. I think it is important to somehow push or stretch or emphasize, in as many ways as I can, the sheer bulk, shape, heaviness, the juices, the actual structure of the body. Cinema basically examines a personality first and the body afterward.

Of course I constantly despair at my own incapacity, at the impossibility of ever accomplishing anything, of painting a valid, true picture or even knowing what such a thing ought to look like. But then I always have the hope that, if I persevere, it might one day happen. And this hope is nurtured every time something appears, a scattered, partial, initial hint of something which reminds me of what I long for, or which conveys a hint of it – although often enough I have been fooled by a momentary glimpse that then vanishes, leaving behind only the usual thing.

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.

Apart from painting and gardening, I'm not good at anything.

My father's death when I was eighteen and his struggles as a Jewish immigrant provided me with the raw material, but for a long time I went from painting to fiction and then finally to poetry before I could find the right way of telling this story.

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.

A cinematographer is a visual psychiatrist, moving an audience... making them think the way you want them to think, painting pictures in the dark.

The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.

It's fascinating to think that as soon as man came into existence, he started painting.

Royce turned to Hadrian. “It’s supposed to make them look tough, but all it really does is make it easy to identify them as thieves for the rest of their lives. Painting a red hand on everyone is pretty stupid when you think about it.” “That tattoo is supposed to be a hand?” Hadrian asked. “I thought it was a little red chicken. But now that you mention it, a hand does make more sense.” Royce looked back at Will and tilted his head to one side. “Does kinda look like a chicken.

I'm purposeless. I'm making art because I want you to look at that painting and I want it to affect you in some way, to change what you see, to change how you see it. To change how you see something, whatever.

I think a painting is more like the real world if it's made out the real world.

the best way to remember a beautiful city or a beautiful painting is to eat something while you are looking at it. The flavor really helps the image to penetrate the body. It fixes it as lacquer does a drawing.

When they're looking at my work, they're looking at a painting and they're able to accept it better because it is also a quilt.

I always dream a painting like that, with a group of lively figures of the pals.