Quotes About 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.

Comedy is the one absolutely self-aware art form. Actually, hip-hop's another one, I suppose. Because in your songs you're talking about how good a hip-hop artist you are. It's like a painter painting a panting of himself painting a painting.

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.

I have never heard a dancer asking for advice about how to stay focused on her footwork, or a painter complaining about the dull day-to-day task of painting. What task worth doing isn't worth daily effort? Do you think Michelangelo was having fun the whole time he was on his back painting the Sistine Chapel's ceiling?

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.

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.

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

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.

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.

You can't make a perfect painting. We can see perfection in our minds. But we can't make a perfect painting.

Robert von Neumann taught painting, and when I finally got into a painting class of his, he reacted in much the same way.

I would never put a sculpture in front of a painting, so that it is difficult to see the painting. I always place each thing so you can see it isolated. You can focus on every individual work.

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.

So far as photography satisfied a wish, it satisfied a wish not confined to painters, but a human wish, intensifying since the Reformation, to escape subjectivity and metaphysical isolation - a wish for power to reach this world, having for so long tried, at last hopelessly, to manifest fidelity to another... Photography overcame subjectivity in a way undreamed of by painting, one which does not so much defeat the act of painting as escape it altogether: by automatism, by removing the human agent from the act of reproduction.

There is no light painting or dark painting, but simply relations of tones.

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.

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.

When we paint, whether it is on our bodies for ceremony or on bark or canvas for the market, we're not just painting for fun or profit, we're painting as we always have done to demonstrate our continuing link with our country and the rights and responsibilities we have to it.

I believe I am looking for rightness. My work has so much to do with reality that I wanted to have a corresponding rightness. That excludes painting in imitation. In nature everything is always right: the structure is right, the proportions are good, the colours fit the forms. If you imitate that in painting, it becomes false.

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 older I get, the more I feel that color is what painting is. Painting is primarily color.

A painting, you know, it's all dirty material. But it's about transformation. Taking that earth, that heavy earthen kind of thing, turning it into air and light.

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

I don't believe in art like I used to. I believe in something beyond it, something that contains art and everything else. But I just don't quite have the nerve to chuck drawing and painting. Part of it is that I enjoy it too much, and part is that I don't have the courage to renounce the world. I don't want to move out of this nice neighborhood so that I can live in a shed and devote myself to meditating and touching something I can't feel. I'm addicted to the fun of playing in the world.

This time I read the title of the painting: Girl Interrupted at Her Music. Interrupted at her music: as my life had been, interrupted in the music of being seventeen, as her life had been, snatched and fixed on canvas: one moment made to stand still and to stand for all the other moments, whatever they would be or might have been. What life can recover from that?

I think of a piece, and then people who are competent fabricate it. But lately I've started finger painting, which probably should be a joke but isn't!

I don't have much of a problem with interruptions. I keep a detailed record of paint and materials as a work on each painting. I can restart exactly where I left off.

So worried was I that people would see through the painting into my soul - and guess at secret Alison stuff - that I scraped the paint off the canvas. It was too risky to expose what everyone hides...And yet isn't that the job of the artist? Next step is to take the risk - to work more deeply. To expose that which cannot be expressed any other way. That is art. Scary and exciting.

Say anything you want against The Seventh Seal. My fear of death - this infantile fixation of mine - was, at that moment, overwhelming. I felt myself in contact with death day and night, and my fear was tremendous. When I finished the picture, my fear went away. I have the feeling simply of having painted a canvas in an enormous hurry - with enormous pretension but without any arrogance. I said, 'Here is a painting; take it, please.'

Painting is something that you need to do, if not every day, then certainly most days. It is almost like being a pianist: if you stop, you lose something.

I so love the animation process. Interesting, everything that I do in animation, the kind of crafting and skills of storytelling, totally work within the structure of the Disney nature films. In a weird way, I like to think that animation is like painting, and Disney nature is like sculpting. Animation you start with a blank canvas and you paint. With Disney nature, you start with a big block of imagery and you hone it down into your final story. Somewhere you end up with something kind of pretty to watch.

My worlds are completely different. Painting is a peaceful world, and it's a different vibe than having a great match. You are able to look back at what you created when you finish. Recording music is an entirely different monster. When you finally write something, you do a demo and then you go into the studio. Doing the master version, that's the best feeling ever - especially when you're so proud of what you've written, and you can't wait for people to hear it. That's actually very similar to trying to tell a story in a wrestling match.

Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts. Only then will their work be imbued with the architectonic spirit which it has lost as salon art. Together let us desire, conceive, and create the new structure of the future, which will embrace architecture and sculpture and painting in one unity and which will one day rise toward heaven from the hands of a million workers like the crystal symbol of a new faith.

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

Cinema is a kind of pan-art. It can use, incorporate, engulf virtually any other art: the novel, poetry, theater, painting, sculpture, dance, music, architecture. Unlike opera, which is a (virtually) frozen art form, the cinema is and has been a fruitfully conservative medium of ideas and styles of emotions.

I see painting as an evocative magic, and there must always be a random factor in magic, one which must be constantly changed and renewed.

Whenever I see a Frans Hals I feel like painting, but when I see a Rembrandt I feel like giving up!

Think of anybody - Dostoevsky or Jane Austen - [their work] was always something that now we would call political. So I don't see those separations too much, between what is artistic and what is political. Maybe in painting... no, I don't even believe that.

Painting, like poetry, selects in the universe whatever she deems most appropriate to her ends. She assembles in a single fantastic personage, circumstances and features which nature distributes among many individuals. From this combination, ingeniously composed, results that happy imitation by virtue of which the artist earns the title of inventor and not of servile copyist.

Man needs music, literature, and painting - all those oases of perfection that make up art - to compensate for the rudeness and materialism of life.

How people make gardens is bound to reflect a way of experiencing the natural world, while at the same time this experience of nature is bound to reflect a culture - ways of painting nature, for example, or representing nature in literature, or of course making gardens.

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.

Every painted image of something is also about the absence of the real thing. All painting is about the presence of absence.

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.

Painting is a play of opacities and transparencies.

It is, in fact, safe to assume that, more often than not, life imitates craft, for who among us can say that our experience does not more closely resemble a macramé plant holder than it does a painting by Seurat. When it comes to art, life is the biggest copycat in the matter of the frame.

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.