Paintings Quotes
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It is important to see that my paintings are ultimately stimulating. They are not at all the kind of thing that inspires despair.
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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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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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A lot of my paintings have quite negative meanings, but painted in a bright and cheerful way.
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You don't talk about paintings, you look at them.
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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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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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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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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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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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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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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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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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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 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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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 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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I can't tell a story in the white man's language, so I say what I want to say with my paintings.
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I no longer worry whether a painting is about something or not. I am only concerned with the expectation, from a flat surface, of an illusion.
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People used to give me pictures or paintings of me - they never look even close to what I look like.
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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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Living with and studying good paintings offers greater interest, variety and satisfaction than any other pleasure known to man.
