Painting Quotes
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Everyone who has any talent at all in sketching, painting, sculpturing or carving, should have the opportunity to use that talent. The expression is important for the person, and can tremendously enrich the lives of other people. What can you do?
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90% of every art form is garbage - dance and stand-up, painting and music. Focus on the 10% that's good, suck it up, and drive on.
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In America, the only truly popular art form is the movies. Most people consider painting a hobby and literature, schoolwork.
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A painting requires a little mystery, some vagueness, and some fantasy. When you always make your meaning perfectly plain you end up boring people.
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I feel that when I am painting, it is a form of worship. I see how wonderful nature is and how wonderful art is... and by trying to produce these works of art, I feel that I am just showing my appreciation of these creations.
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It takes more time to rework a painting than it takes to fill in the canvas in the first place. I wish I could get them all right with the first coat like many of the old masters could, but seem destined to have to rework to make them even passable.
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Like a guide dog, paintings help you see.
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So about twenty years ago I gave up on painting - and got into terrible debt after buying a load of camera gear!
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To me, this was an oxymoron, doing a painting of a dancer. Dancers are always moving.
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Painting and sculpture are very archaic forms. It's the only thing left in our industrial society where an individual alone can make something with not just his own hands, but brains, imagination, heart maybe.
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But, after all, the aim of art is to create space - space that is not compromised by decoration or illustration, space within which the subjects of painting can live.
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Painting has been a smiling mistress to many, but she has been a cruel jilt to me; I did not abandon her, she abandoned me.
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The problem of a painting is physical and metaphysical, the same as I think life is physical and metaphysical.
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I can't imagine painting my face in a team colour and roaring with delight as a multi-millionaire kicks a ball at a net.
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The many faces of Collective Vision united by the mandalic eye-field suggest both expansion of consciousness and sharing of consciousness with other beings. The painting was based on a profoundly ego dissolving entheogenic mystical trance where I heard the words, 'Infinite Oneness... the Oneness should never forget the Infinitude and the Infinitude should never forget the Oneness...'
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When Dick Avedon died, I was so upset that I just started painting.
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For the historian everything begins and ends with time, a mathematical, godlike time, a notion easily mocked, time external to men, 'exogenous,' as economists would say, pushing men, forcing them, and painting their own individual times the same color: it is, indeed, the imperious time of the world.
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I had always loved expressionist painting, like every European. In fact I admired it all the more because these were precisely the paintings despised by my father's generation.
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Painting is but another word for feeling.
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My movement from painting to film was a very conscious one.
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The irony is that the more we fight age, the more it shows. Paint on a 50-year-old face brings to mind a Gilbert and Sullivan comic figure. Smooth the cheeks, and suddenly the ear lobes and hands look out of place. Do we run around in October, painting the gold leaves green?
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I like to think of my work and the way people approach it in the same way people approach a Lichtenstein painting. You can write a one-hundred-page dissertation about why he used comics. Or it could be like, 'This is cute!'
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Landscape painting is the obvious resource of misanthropy.
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I studied all about Gauguin. He was a banker. He was a banker who - he used to paint on Sundays. And one day he hated himself for painting on Sundays.
