Painting Quotes
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So much of the history of painting is the propaganda of self-aggrandizement.
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As a teenager I started painting and playing guitar.
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I’ve learnt from experience that a painting isn’t finished when you put down your brush – that’s when it starts. The public reaction is what supplies meaning and value. Art comes alive in the arguments you have about it.
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Any artist, the work you do, if it's a painting or if it's a performance, you hope it translates to a common denominator with the people that they see something in their own life in there. Or they see something in somebody else's life. That's what's fun about sharing art.
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Well, I don't think anyone now would say that they're painting the state of the culture of America. I think that's too grand and pompous a thing for anybody to claim.
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There is something that always will be true about painting and sculpture - that in order to really get it, you have to show up. That is something that is both sad and kind of beautiful about it. It remains analog. It remains special and irreducible.
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I'm very interested to see how this new painting will go - I know I want it big and stark, and as I said, I follow the muse, and that's when it always works perfectly for me.
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Sculpture is the best comment that a painter can make on painting.
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I've spent a long time avoiding painting and dealing with it from a distance. But as I get older, I'm more comfortable with it.
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I have a publishing company of books by me and books of others. It drew people to poetry readings and photo exhibitions and painting exhibitions that I've been doing for years before that.
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The animation of the canvas is one of the hardest problems of painting.
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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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Painting is about the beauty of space and the power of containment.
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I believe that painting should come through the avenues of meditation rather than the canals of action.
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An artist makes a painting, and nobody bugs him or her about it. It's just you and your painting. To me, that's the way it should be with film as well.
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If I'm painting, I paint every day. I'll be up in the studio from 8:00 in the morning to 8:00 at night.
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I stick the collages on the wall and, if I still like them after a month or two, I make a painting.
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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 wrote 'My Name is Red' just to remember painting, where the hand does it before the intellect. When I'm captive to it, I'm a happier person. Kierkegaard tells us that a happy person is someone who lives in the present; the unhappy person, someone who lives either in the past or the future.
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There's this inherent screenplay structure that everyone seems to be stuck on, this three-act thing. It doesn't really interest me. To me, it's kind of like saying, 'Well, when you do a painting, you always need to have sky here, the person here and the ground here.' Well, you don't.
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Usually when painters use photographs, they enlarge and copy them and simply make a large, boring painting of a large, boring photograph.
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I'm like a gypsy. I've got a place in Beijing, a place in New York, a place in west Africa; I'm working on a place in Colombia. I like the fact that painting is portable - and I've wanted my entire life to be able to see the world, to respond to it, and make that my life's work.
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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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Painting self-portraits without clothes on has also given me some publicity.
