Paint Quotes
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You see, should I stand in front of a landscape and paint it, I'm completely ignoring the factor of time. While I am painting it, it's changing, clouds are changing, all sorts of things. So there's the myth there of someone creating in a timeless vacuum.
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During the Eighties, when I was hurting for money, I thought, "Hang on a minute - I can paint." I was living in New York and I thought it would get the grocery money coming in, and it escalated from there.
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Like the sundial, my paint box counts no hours but sunny ones.
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I see more and more that my work goes infinitely better when I am properly fed, and the paints are there, and the studio and all that... I wish I could manage to make you really understand that when you give money to artists, you are yourself doing an artist's work, and that I only want my pictures to be of such a quality that you will not be too dissatisfied with your work.
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There is no tube of paint that says, 'Don't know.' I have to come to grips with it.
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When I paint I am ageless, I just have the pleasure or the difficulty of painting.
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When I feel tired and discouraged and I lie down on the sofa, then I think of the simplest thing I can – a piece of string – and I go in it and paint it. That's the way to keep painting – to create something inside that makes you want to recreate it.
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I'm in fine fettle and fired with a desire to paint.
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The artist can't paint, sing, or dance without emotion: if he does, he is a machine masquerading as a person.
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I do house things. I paint. I do portraits. I also paint my house.
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I don't say everything, but I paint everything.
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I am a commercial artist because I paint to earn a living. We who earn money from what we produce are all commercial artists.
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If I should have a daughter… I’m gonna paint the solar system on the backs of her hands so she has to learn the entire universe before she can say ‘oh I know that like the back of my hand.
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People will keep on taking them for theorists, when all they wanted was to paint in gay, bright colours, like the old masters.
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About 1883 something like a break occurred in my work. I had reached the end of 'impressionism,' and I had come to realize that I did not know how to paint or draw.
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I can paint anything. Leonardo? Of course. But why? You couldn't sell it.
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Part of what I'm about is seeing how I can paint the same thing differently instead of different things the same way.
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If there be a God, I think he would like me to paint Africa British-Red as possible.
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I don't know why I paint what I paint. I think it comes out - it's kind of my subconscious or something.
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Everyone knows that yellow, orange, and red suggest ideas of joy and plenty. I can paint you the skin of Venus with mud, provided you let me surround it as I will.
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If you paint the leaf on a tree without using a model, your imagination will only supply you with a few leaves; but Nature offers you millions, all on the same tree. No two leaves are exactly the same. The artist who paints only what is in his mind must very soon repeat himself.
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I paint because the spirits whisper madly inside my head.
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My brushwork is quite unsystematic. I slam the paint on in all sorts of ways and leave each result to take care of itself.
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Ultimately, it doesn't matter to the world whether you paint or dance or write. The world will probably get by without the product of your efforts. But that is not the point. The point is what the inner process of following your creative impulses will do to you. It is clearly about process. Love the work, love the process. Our fascination will pull our attention forward. That, also, will fascinate the viewer.
