Paintings Quotes
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The fact I myself do not understand what my paintings mean while I am painting them does not imply that they are meaningless.
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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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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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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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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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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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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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Paint right into the darkness. While painting in these conditions the mind shifts gears, engaging the unconscious. Unique ‘insights' happen in the dark
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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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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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For the makers, the paintings and engravings were visions, not representations of visions.
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People love mystery, and that is why they love my paintings.
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You don't talk about paintings, you look at them.
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My art in the last period has all been in small format, but my paintings have become even deeper and more spiritual, speaking truly through colour. Feeling that because of my illness I would not be able to paint very much longer, I worked like a man obsessed on these little 'Meditations' (a long series of small paintings he made during the last years of his life, with as main motif the schema of a face, ed.). And now I leave these small but, to me, important works to the future and to people who love art.
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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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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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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 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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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 think I've identified as an artist since I was a baby - literally a baby. I made a book of drawings and paintings in pre-school. By the time I got to high school, I was completely enamored with art, doing paintings and portraits at lunchtime. I've been creating in some capacity forever.
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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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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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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.
