Painting Quotes
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Well, painting today certainly seems very vibrant, very alive, very exiting. Five or six of my contemporaries around New York are doing very vital work, and the direction that painting seems to be taken here – is – away from the easel – into some sort, some kind of wall, wall painting...
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I taught a lot of art history, especially Chinese, Japanese, and Indian. But the painting classes came back. The nudes came back. Not so much the still lifes. So now our department is the worst department, partly because it has the worst facilities.
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Abstract painting seeks to be a pure pictorial language, and thus attempts to escape the essential impurity of all languages: the recourse to signs or forms that have meanings shared by everyone.
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The mere drawing and painting world of the pattern designer and the applied artist must become a world that builds again.
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In my experience a painting is not made with colors and paint at all. I don't know what a painting is; who knows what sets off even the desire to paint?
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A painting probably is the most shocking increase in value, from what it costs to make to what you sell it for.
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A poet can feel free, in my estimation, to write a poem for himself. Or a painter can paint a painting for himself. You can write a short story for yourself. But for me, comedy by its nature is communal. If other people don't get it, I'm not sure why you are doing it.
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Painting is a very difficult thing. It absorbs the whole man, body and soul, thus have I passed blindly many things which belong to real and political life.
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When I was 18, I lived in Greenwich Village, New York, for nine months. At that time, I wanted to change the world, not through architecture, but through painting. I lived the artist's life, mingling with poets and writers, and working as a waiter. I was intrigued by the aliveness of the city.
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The Bauhaus strives to bring together all creative effort into one whole, to reunify all the disciplines of practical art - sculpture, painting, handicrafts, and crafts - as inseparable components of a new architecture.
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When I started painting 17 years ago, I never imagined that anyone would look at my work or buy my pieces. But now I do about 14 exhibitions each year.
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In the visual arts, particularly painting, I distrust all those abstractions, those artificial constructions. I have a very simple way of judging them: if I can do them, they are not art.
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Photography has arrived at the point where it is capable of liberating painting from all literature, from the anecdote, and even from the subject. In any case, a certain aspect of the subject now belongs to the domain of photography. So shouldn't painters profit from their newly acquired liberty, and make use of it to do other things?
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I put it a still life of a pear, made by Manet there on the wall, next to Ingres' painting 'Jupiter', for a pear like that would overthrow any god.
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If some student came up and wanted to know where to study painting, you'd want to suggest someplace, but there's no place. I wouldn't know where to send a student to study.
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He drove his kind of realism at me so hard I bounced right into nonobjective painting.
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Whenever I go on holiday, I like to time travel and imagine what it must have been like 500 years ago. I love the Tuscan landscape, which is reminiscent of a Claude Lorrain painting.
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I liked painting and drawing, and I liked humanities mainly - poetry, literature - this speculative attitude toward life.
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A great painting is a great painting.
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Painting bodies with the patterns of Kusama's hallucinations obliterated their individual selves and returned them to the infinite universe.
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I don't like getting out when I could be painting. And when I'm painting, I don't want anybody else around.
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Ken Noland would use concentric circles; he'd want to get them in the middle of the painting because it's the easiest way to get them there, and he want them there in the front, on the surface of the canvas. If you're that much involved with the surface of anything, you're bound to find symmetry the most natural means.
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A movie is painting, it's photography, it's literature - because you have to have the screenplay - it's music. Put a different soundtrack to a comedy and it's a tragedy. A movie combines all those forms and forces you to pay attention for two hours with a group of people.
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Most people don't really like to pose. It is difficult to get them to be present and relaxed under this kind of molecular scrutiny. I want them to understand I'm not simply painting them: I am painting them within a precise moment in time, as a shadow moves across their eyebrows. Then it is gone. The moment is over.
