Painting Quotes
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Dear Does = Theo van Doesburg , thank you for your letter.. .I was glad to know that in principle you are in favour of the diamond hanging Mondrian's painting, he made in 1919, hanging in a rhombus and I think that in practice you will approve of this method for some of my things. You look at the thing painting itself, and not only the outward appearance..
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Action painting has to do with self-creation or self-definition or self-transcendence; but this dissociates it from self-expression, which assumes the acceptance of the ego as it is, with its wound and its magic.
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Each line is now the actual experience with its own innate history. It does not illustrate - it is the sensation of its own realization. a written art note by Twombly on a painting he created in 1957.
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It's not about perfection. What's a perfect painting? What's interesting about a perfect painting?
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'I'd been painting rats for three years before someone said 'that's a clever anagram of art' and I had to pretend I'd known that all along.'
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As the books grew bigger and more ambitious, the situations in question sometimes became political ones, and so it became necessary to start painting in the social background on a scale which eventually became panoramic.
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I don't believe in making pencil sketches and then painting landscape in your studio. You must be right under the sky.
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When I'm painting the picture, I'm really painting a picture. I may have a flat-footed technique, or something like that, but still, to me, the thrill, or the meat of the thing, is the actual painting. I don't get any thrill out of laying it out.
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Every time I started painting it was like a new experience, but they all came out the same.
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The value of a work of art cannot ultimately turn on the more or less of its subservience to ideology; for painting can be grandly subservient to the half-truths of the moment, doggedly servile, and yet be no less intense.
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No one purposefully paints a bad painting. It's someone who's trying to do a good painting, but it's terrible. I have one with a matador, and the bull is going through the blanket. You can tell the painter didn't know how to paint it.
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My cubist paintings are my most Mexican.
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If London is a watercolor, New York is an oil painting.
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Painting, I think it's like jazz.
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I would never have taken up painting if women did not have breasts.
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I love Rauschenberg. I love that he created a turning point in visual history, that he redefined the idea of beauty, that he combined painting, sculpture, photography, and everyday life with such gall, and that he was interested in, as he put it, 'the ability to conceive failure as progress.'
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You don't leave the film alone. You have a new audience, and you have a new medium. Why would you leave it alone? Film is not an antique. It's not a relic. It's not a Leonardo da Vinci. I don't want someone painting over a da Vinci or Rembrandt. But these movies aren't that.
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I should have been, I don't know, a con-man, a robber or a prostitute. But it was vanity that made me choose painting, vanity and chance.
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Writing requires a great deal of skill, just like painting does. People don't want to learn those skills.
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I'm not going to stop painting just to take orders.
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I don't think money can help you become a better painter, for sure. You can have all the studios you want; it won't help you make a better painting.
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Music is a lot more like solving an intricate puzzle with moments of pure, random creative bliss... whereas painting is much more purely random creative bliss with moments of problem solving.
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It is better decoration when, in painting, some monstrosity is introduced for variety and a relaxation of the senses and to attract the attention of mortal eyes, which at times desire to see that which they have never seen.
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Cézanne's painting is strictly painting, and its value is immense; but Van Gogh's painting has the Outsider's characteristic: it is a laboratory refuse of a man who treated his own life as an experiment in living; it faithfully records moods and developments of vision on the manner of a Bildungsroman.
