Paintings Quotes
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I've spent so long on some paintings that I no longer know what to think of them, and I am definitely getting harder to please; nothing satisfies me.
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For the makers, the paintings and engravings were visions, not representations of visions.
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I have not collected art. Art collected me. I never found paintings. They found me. I have never even owned a work of art. They owned me.
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If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.
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You don't talk about paintings, you look at them.
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I still have a lot of pleasure doing them, but as time goes by I come to appreciate more clearly which paintings are good and which should be discarded.
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A lot of my paintings have quite negative meanings, but painted in a bright and cheerful way.
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Stories were primarily verbal to begin with. Before there were cave paintings, stories were told over generations. We tell each other thousands of stories in the course of everyday life.
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There is that interesting thing that Haughton Forrest was imagining the landscapes. They are so dramatic. They are dark, big, gloomy paintings and he was making them during some of the most ominous massacres in Tasmania. Forrest was recording history but missing the human story.
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Why, it has often occurred to me to ask myself, do I so frequently choose death, transience, and the grave as subjects for my paintings? One must submit oneself many times to death in order some day to attain life everlasting.
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People love mystery, and that is why they love my paintings.
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Woven through Timothy J. Clark’s paintings are unique combinations of visual and emotional stimuli. His sense of space, light and composition combine to create graphic tensions which intrigue beyond the beautifully-painted forms of the subjects.
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I don’t want [my paintings’ subject matter] to be seen as a just a button. So they have to be read as not a button or a flower but something abstracted from which you can derive meaning.
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I'm never finished with my paintings; the further I get, the more I seek the impossible and the more powerless I feel.
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The paintings in our galleries are seen one day in bright sunshine and another day in the dim light of a rainy afternoon, yet they remain the same paintings, ever faithful, ever convincing. To a marvelous extent they carry their own light within. For their truth is not that of a perfect replica, it is the truth of art.
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Makeup ignites a psychological transformation of both the wearer and the observer. My paintings sought to locate the subject of art within the manipulation of that altered predisposition.
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Many of Bonnard's later paintings are shot through with a powerful sense of morbidity. The self-portraits he painted after catching sight of himself in the various mirrors in the house - the mirror in the bathroom or the mirror in his bedroom, still lit from above by a single accusatory light bulb - are almost appallingly raw.
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I know well enough in advance that you'll find my paintings perfect. I know that if they are exhibited they'll be a great success, but I couldn't be more indifferent to it since I know they are bad, I'm certain of it.
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If politicians can't do it, I want to do it. We have to do it. Artists, put it in paintings. Poets, put it in poems, novels. That's what we have to do. And I think it's so important to save the world.
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I think about my art works as paintings, because they refer to the history of painting. I also have to think about them as sculptures, because every part of the process is part of the project. They're sculptures because they play on the idea of what should be hanging in a gallery. In that sense they're also kind of ready-mades.
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My paintings and sculptures, at first glance, may appear to be purely aesthetic; closer up, they are not. They hold a feeling of tentativeness, combined with a sense of arrival.
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I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.
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My work, in a certain way, got started in 1996 when I did an exhibition of thirteen paintings that were solely based on fashion imagery.
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There must be an open space in the paintings – an entry space for the viewer, or even for me. Just white space where you can get into it.
