Quotes About Painting

I thought I was going to be able to use my painting ideas as decoration on pottery, but my painting did not translate into decoration on pottery. I thought it was going to, and in fact I made, while still in school, a plate with one of my paintings on it, and that's exactly what it was, it was a plate with a painting on it. It was not a decorated plate; it was just a painting superimposed over a three-dimensional ceramic form.

I feel like what's most important for painting - which has been hierarchically on the top for a really long time in terms of what is considered fine art, by comparison with something like a comic book or what's considered low art - is that painting should open up laterally to include other cultures and things that don't immediately resonate as a painting but are obviously of equal contribution to the genre.

I just realized that I never look at a painting and ask, 'Is this painting fictional or non-fictional?' It’s just a painting.

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.

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.

Good painting is nothing else but a copy of the perfections of God and a reminder of His painting. Finally, good painting is a music and a melody which intellect only can appreciate, and with great difficulty.

I would have conversations with European artists. Meaning, people look at my painting and one person would say, "Oh, your painting is just like so-and-so!" Another person would say, "It's just like so-and-so." But at the end, it's a chain of relay like a marathon. There are so many so-and-so's that eventually it becomes mine. My dialogue was completely European, with the '40s, '50s, '60s artists, but on the exterior side I do big painting. It's post-Pollock. It's current. It's a meeting of the time. The Chinese side just comes out.

I have never seen a beautiful painting of a beautiful woman. But you can take an ugly woman and make a beautiful painting of her. It is the painting itself that should be beautiful.

The artist has the power to signoff the work by deconstructing the work itself: I've finished this work now and I'll sign it and relegate the painting to simply something that services my signature. The painting becomes the colorful backdrop of the signature.

The world will not give you an endowment for your finger-painting. Your finger-painting may be marvelous, but our government and society do not value art adequately. We should fulminate against that and seek to change it, but in the meantime you have to make choices. If you're an artist who likes to have a steady income for yourself, for your children, for your partner, to help you engage in elder care as you take care of your parents or grandparents, that's a good thing.

[Comics is] one of the last havens for honesty when it comes to a reader's genuine response to art. Most of us, if we don't find any sympathy or pleasure, for example, in a modern painting, are likely to blame our own ignorance of the history and theory of painting. But nobody pretends to like a bad comic strip. Such harshness is necessary for any real truth to surface, I think, and for art to really contribute anything to life. Though I don't know. I could be wrong.

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."

Each painting seems to have a very specific size it wants to be. I have even started a painting or two over just because I didn't like the feeling of the particular image at a particular size. The Parlor needed to be large because I wanted it to feel like a full-size room you could step into. Unfortunately for me, I paint the same way on an eight-foot canvas as I do on a five-inch miniature. I still use very tiny brushes and noodle every square inch. It took me nearly a year to paint The Parlor.

At a lecture, a guy said to me, "You know, when I look at your work, I don't know what I'm looking at, but when I look at a Willem de Kooning painting, I know what that is." I said, "Well, the paintings I'm doing have a very legible sentence at the top of the canvas." At a lecture, a guy said to me, "You know, when I look at your work, I don't know what I'm looking at, but when I look at a de Kooning painting, I know what that is." I said, "Well, the paintings I'm doing have a very legible sentence at the top of the canvas."

I'm now painting with all the elan of a Marseillais eating soup, which won't surprise you when I tell you I'm painting large sunflowers. The idea? To decorate the studio, now there's hope of Gauguin living here. I aim at a dozen panels of sunflowers in the room I've set aside for Gauguin.

Painting is a medium in which the mind can actualize itself; it is a medium of thought. Thus painting, like music, tends to become its own content.

Painting gives the object itself; poetry what it implies. Painting embodies what a thing contains in itself; poetry suggests what exists out of it, in any manner connected with it.

Painting was called silent poetry and poetry speaking painting.

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.

There aren't really rules for painting, but there’s certain facts and fictions about painting. Part of what I do is document another surface and sort of translate it. They’re like translations, and then part of it is fiction, which is invention.

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 get so tired of painting. I've been trying to give it up all the time, if we could just make a living out of movies or the newspaper business or something. It's so boring, painting the same picture over and over.

In printmaking, I essentially use the same process as in painting with one important exception ... to try, with sensitivity to the medium to emphasize what printing can do best ... better than say, painting or collaging or watercolour or drawing or whatever ... Otherwise, the artist expresses the same vision in graphics that he does in his other work.

I would always be painting and drawing. If I was stuck at home, I was in the basement working on a painting.

In effect, painting is the still memory of [the artist's] human motion, and our individual responses to it depend on who we are, on our character, which underlines the simple truth that no person leaves himself behind in order to look at a painting.

Remember always, in painting as in eloquence, the greater your strength, the quieter will be your manner, and the fewer your words; and in painting, as in all the arts and acts of life the secret of high success will be found, not in a fretful and various excellence, but in a quiet singleness of justly chosen aim.

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.

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

Picasso didn't stop painting when he was 41 years old because he felt he wasn't relevant, but he kept going and the painting he made before he died are now worth 40 million dollars.

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

I don't believe in making pencil sketches and then painting landscape in your studio. You must be right under the sky.

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.

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.

A lot of painters listen to music, I think, while they paint. But I hate to do that. It's a horror. I can't really listen to the music. I'm not really concentrating on it, and I'm not really concentrating on the painting.

Abstraction in photography is ridiculous, and is only an imitation of painting. We stopped imitating painters a hundred years ago, so to imitate them in this day and age is laughable.

Have not Manet and Monet, Cézanne and Matisse, rendered to painting something of the same service which Keats and Shelley gave to poetry after the solemn and ceremonious literary perfections of the eighteenth century? They have brought back to the pictorial art a new draught of joie de vivre; and the beauty of their work is instinct with gaiety, and floats in sparkling air. I do not expect these masters would particularly appreciate my defence, but I must avow an increasing attraction to their work.

I don't buy art. I'd rather buy a beautiful location or a beautiful site than buy art. A beautiful home is like owning a beautiful painting, except you can live in it.

All great questions must be raised by great voices, and the greatest voice is the voice of the people - speaking out - in prose, or painting or poetry or music; speaking out - in homes and halls, streets and farms, courts and cafes - let that voice speak and the stillness you hear will be the gratitude of mankind.

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.

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.

Painting is an object, but it's also a voice. I don't see them as objects; I see them as voices.

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

Painting is about the beauty of space and the power of containment.

In painting, as in the other arts, there's not a single process, no matter how insignificant, which can be reasonably made into a formula. You come to nature with your theories, and she knocks them all flat.

I'm glad . . . that Edison didn't give up on the light bulb. That Luther refused to back down. That Michelangelo kept painting. That Lindbergh kept flying.

One teacher told me that my work belonged in the trash. That day I ran out of the classroom and ended up in the library, where there happened to be a black and white photography exhibition of Robert Rauschenberg's photographs of the streets of New York. The subject of his photos were exactly what I was painting about.

The media ... is like an oil painting. Close up, it looks like nothing on Earth. Stand back and you get the drift.

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.