Painting Quotes
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I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.
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By nature I mean here, like the naïvest realist, a composite of perceiver and perceived, not a datum, an experience. All I wish to suggest is that the tendency and accomplishment of this painting are fundamentally those of previous painting, straining to enlarge the statement of a compromise.
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Art is important because when people start to forget, art reminds them what happened. Like 'Guernica.' People would not remember the tragedy of Guernica today if it were not for that painting.
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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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Morris Louis and I were interested in how Pollock and Helen Frankenthaler famous for her soak-painting technique were using paint. Of necessity we had to get more interested in the stuff of painting. We talked a lot about whether to size the painting or not to size, how to mix up paint.
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Sometimes I can see the whole painting from the outset in my mind's eye. But more often than not, that idea doesn't last the duration of the painting. Sometimes it comes out easy, just as I had envisaged. But that is reasonably rare.
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The principal element of Suprematism in painting, as in architecture, is its liberation from all social or materialist tendencies. Through Suprematism, art comes into its pure and unpolluted form. It has acknowledged the decisive fact of the nonobjective character of sensibility. It is no longer concerned with illusion.
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As a composer and as a musician I'm a true believer - and this is not to be overly diplomatic - I'm a believer that there's artistry in everything from a lawn gnome to a desk chair to a symphony to an Andy Warhol painting. There's art in absolutely everything.
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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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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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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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I'm old fashioned. I really think you should know how to draw before you start painting. I use charcoal and graphite; I put a skylight in. In my house, I turned the garage into an art studio. So I'm awash in art studios.
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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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Painting (like poetry) chooses from universals what is most apposite. It brings together in a single imaginery being circumstances and characteristics which occur in nature in many different persons.
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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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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 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 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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It is not hard to understand modern art. If it hangs on a wall it's a painting, and if you can walk around it it's a sculpture.
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It’s been said many times in world art writing that one can find some of painting’s meaning by looking not only at what painters do, but what they refuse to do.
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The substance of painting is light.
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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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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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That's when I feel really excited about a painting. When it starts to feel real, when it feels like it has a personality.
