Jamie Wyeth Quotes
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We lived in my father's studio, so there were the brushes and the pencils and the paint. So it would - it was very natural for me to want to paint, I think, and it was never a question.
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Art was a way of life in my family. My grandfather, N.C. Wyeth, who died a year before I was born, had been a prominent painter. So was my father, Andrew. My two aunts and two of my uncles also earned a living as painters.
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I have hundreds of art books and the biographies of artists I love, such as Thomas Eakins and Edgar Degas.
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I spent a lot of time alone; I left school to be tutored. So, most of my companions were animals. It's as simple as that. I knew more animals than I did people.
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I paint every day. I really have no hobbies. That's all I do.
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Warhol had a huge effect on me. It wasn't that I sought it out. It was more of a natural evolution.
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I thought to live on an island was like living on a boat. Islands intrigue me. You can see the perimeters of your world. It's a microcosm.
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Nothing is more uninteresting than completely knowing somebody, being totally at ease.
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My father was a great inspiration, and there was a bit of competition between us. He'd work in his studio, and I'd work in my space, but the door was always half open.
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Growing up in Chadds Ford, Pa., I shuttled between studio space in my parents' house and my grandfather's studio just up the hill. It was a solitary childhood, but I loved it.
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Painting is a field that attracts a lot of lazy people. You can just sort of sit and wait for things to come to you. I know a lot of painters who'll sit and chat it up all night. But God, I just can't do that.
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To me, dance is so ethereal and elusive, so much of an illusion. After a performance, that's it. With vocals and music, you have good recordings.
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The real kiss of death - particularly with my father - is the extraordinary popularity of his work.
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My sketchbooks are usually just a line on one page or a circle, which to most people must be totally meaningless. But to me, they are very important to the thing I am working on.
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The whole consideration of - ... am I being compared as such and such's grandson and son - that was minuscule compared to the problems I was having just working... I didn't have time to start worrying about who I was in the eyes of the public.
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I view anything on this farm as model. I actually painted Union Rags as a yearling.
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There's a quality of life in Maine which is this singular and unique. I think. It's absolutely a world onto itself.
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Dance looks absurd on film, I think, like little puppets moving around.
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I have continued to paint; my father - who was savaged by the critics - continued to paint until practically the last week of his life.
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I immediately doubt things if I become satisfied with them. Being satisfied by something is a real danger for me. I hope I never lose that. That would be death.
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From my earliest memories, my aunt was squirting out oil paint. I could just eat it. I would go from her studio and walk down to my father's house, and there he was, working in egg tempera.
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To me, this was an oxymoron, doing a painting of a dancer. Dancers are always moving.
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The quality I most loved in Warhol - it was his sense of wonder. I mean, he was - absolutely everything was, 'Oh my God, isn't that wonderful!'. You know, and so it wasn't that he was cool and kind of calculated at all. He was very childlike.
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My father's work is rather mysterious, not much said, and my grandfather's is robust, bursting off the walls.