Painting Quotes
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I've always been a fan of poetry. I grew up with Lawrence Ferlinghetti and the Beat poets. I really followed that stuff for a while. I just love the way people threw words around like they were painting.
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I had decent but not great grades in high school because I was highly motivated in some subjects, like the arts, drama, English, and history, but in math and science I was a screw-up. Wooster saw something in me, and I really flourished there. I got into theatre, took photography and painting classes.
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I was the youngest of four kids, and Dad, who had a garden centre before he retired, came from a large Lancashire family. Every one of my uncles had their own business, including a post office, two fish and chip shops and a painting and decorating business.
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I hope that my painting has the impact of giving someone, as it did me, the feeling of his own totality, of his own separateness, of his own individuality.
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Doing the show was like painting the George Washington Bridge. As soon as you finished one end, you started right in on the other.
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I feel fairly certain that my painting skills might not be best shown on 'Dancing with the Stars.' I'll have to come up with another way to showcase that side of me.
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I have to go with what the painting says to me. The painting is always informing me. I'm its servant; it's not mine. I'm doing what it wants.
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I am not the kind of director who sits in a chair smoking a cigar talking with a microphone to 10 assistants. I need to move. To touch. To put a painting on a wall. To arrange a set.
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The painting has a life of its own. I try to let it come through.
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The main qualifications to the lesser position of painting is that advances in art are certainly not always formal ones.
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Although I studied, I have never been taught painting because I possess in my psychological makeup a peculiarity that resents any outside interference.
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The surrealists, and the modern movement in painting as a whole, seemed to offer a key to the strange postwar world with its threat of nuclear war. The dislocations and ambiguities, in cubism and abstract art as well as the surrealists, reminded me of my childhood in Shanghai.
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In old times, men used their powers of painting to show the objects of faith; in later times, they used the objects of faith that they might show their powers of painting.
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Every viewer is going to get a different thing. That's the thing about painting, photography, cinema.
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I've been working in sculpture and painting since 1920.
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Certainly one of the surprising truths of having a book published is realizing that your book is as open to interpretation as an abstract painting. People bring their own beliefs and attitudes to your work, which is thrilling and surprising at the same time.
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I decided one day to put on my tutu and jump on the coffee table and sing Aretha Franklin songs for the painters that were painting the house.
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My painting carries with it the message of pain.
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I liked drawing and painting, because the only failure would be to listen to the doubters who wanted me to stop drawing and painting because 'you aren't going to make a living doing that.' I liked looking in art books at the work of painters.
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You care enough, that you want your life to be fulfilled in a living way, not in a painting way, not in a writing way... you really do want it to be involving in living, corresponding with other living objects, moving, changing, that kind of thing.
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Painting is first of all the art of imitation, and not the servant of some imaginary 'purity'
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By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.
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So much of the history of painting is the propaganda of self-aggrandizement.
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As a kid, there was a painting of 'Appeal to the Great Spirit' that I would see when I would get oatmeal bowls out of the cupboard. This painting, it was so real to me that it frightened me.
