Painting Quotes
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Painting it was hard graft. There are one and a half large tubes of white in the ground - yet that ground is very dark.
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I started painting graffiti in the classic New York style of big letters and characters but I was never very good at it.
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My room is dominated by the huge painting, which is a copy of 'The Violation' by the Belgian surrealist Paul Delvaux. The original was destroyed during the Blitz in 1940, and I commissioned an artist I know, Brigid Marlin, to make a copy from a photograph. I never stop looking at this painting and its mysterious and beautiful women.
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Stained glass is unique from the outside, but as a painting insider, I know that oil painting's all about light. And it's about the depiction of light, the way that it bounces off different types of skin, different landscapes. The mastery of that light is the obsession of most of my painter friends.
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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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I love Christmas tree bulbs, and I started putting them in my paintings. You've got to plug this painting in, and it's got a rig in the back, so that each one can be replaced if it burns out.
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My aim in painting is to create pulsating, luminous, and open surfaces that emanate a mystic light, in accordance with my deepest insight into the experience of life and nature.
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Until film is just as easily accessible as a pen or pencil, then it's not completely an art form. In painting, you can just pick up a piece of chalk, a stick, or whatever. In sculpture, you can get a rock. Writing, you just need a pencil and paper. Film has been a very elitist medium. It costs so much money.
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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 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 spend my afternoons painting and working on my Open Hearts jewelry line for Kay Jewelers. I designed an image of a heart that isn't completely closed. My mom always told me to live with an open heart - when life gets tough, you should go out and help someone else.
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I knew nothing when I first met him. He taught me to see things through his eyes. Dalí was my teacher. He let me use his brushes, his paint and his canvas, so that I could play around while he was painting for hours and hours in the same studio. Surrealism was a good school for me. Listening to Dalí talk was better than going to any art school.
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Painting and sculpture, labour and good faith, have been my ruin and I continually go from bad to worse. Better it would have been for me if I had set myself to making matches in my youth. I should not be in such distress of mind.
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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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Musical composition, about which I know little, is a complicated art, and some contemporary music may be the equivalent of a complex abstract painting.
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I'm in a really nice position because I can be selective with the modeling jobs that I do and just work with brands I'm passionate about. The two worlds balance out nicely for me because modeling is so social - it has travel, you meet people, it's extroverted. Whereas painting is very solitary - when I paint, I'm kind of in my own world.
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Around 1980, I went back to painting with a vengeance.
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I am after ME his response on the question what he was after, in his sober painting in 1963 'Sun in an empty room'.
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By painting colours and lines and forms seen in a quickened mood I was seeking to make this mood vibrate as a phonograph does.
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The substance of painting is light.
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I think I'm painting a picture of two women but it may turn out to be a landscape.
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Painting is about the beauty of space and the power of containment.
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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.
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… I don't expect everyone to get something deep out of it. Some people can just listen to the music, or get their aggressions out, but I think with any great painting or movie, album or whatever it is, it's better if people can take what they need from it. That they're not forced to get some particular message.
