Painting Quotes
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People want Art. And they are given it. But the less Art there is in painting the more painting there is.
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In the 1960s when the recording studio suddenly really took off as a tool, it was the kids from art school who knew how to use it, not the kids from music school. Music students were all stuck in the notion of music as performance, ephemeral. Whereas for art students, music as painting? They knew how to do that.
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Painting is stronger than me, it makes me do it's bidding.
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I deal with painting as I deal with things, I paint a window just as I look out of a window. If an open window looks wrong in a picture, I draw the curtain and shut it, just as I would in my own room. In painting, as in life, you must act directly.
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In the middle 1940s... I heard everyone live. Painting, the theater; everything was happening. It was an exciting time when New York was the place to be.
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A great deal that had become frozen within me in Germany melted here in America and I rediscovered my old yearning for painting. I carefully and deliberately destroyed a part of my past.
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My problem is to bring together in a painting two seemingly conflicting, impossibly unmixable ideas. One is that the finished work shall evoke a sense of recognition, of the mysteriously familiar... the other is that in order to do the first I must deeply know my subject.
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The expressive techniques of painting are capable of conveying an analogy but not an impossible photograph of a moment
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Once music ceases to be ephemeral - always disappearing - and becomes instead material... it leaves the condition of traditional music and enters the condition of painting. It becomes a painting, existing as material in space, not immaterial in time.
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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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An effective lighting design is like a beautiful painting. Your medium is bringing someone to an emotional state he or she would not achieve at that moment without your art. This does not and can not happen by accident.
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The reason I play music is to touch people - for selfish reasons, as well. It feels good to make someone else feel something, whether it's a kiss, a painting, good idea or it's a song.
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I want my paintings to look like they were found in a garage. If they get a scratch or a hole in them, it just becomes part of the painting.
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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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I rage against Vincent van Gogh for needing to die at 37, after painting for only ten years.
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Rock roll is not obscure, it's really easy to understand. So is my painting.
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We didn't want to sign the painting itself, that would have interfered with the composition. And even later, for that reason or for another, I sometimes marked my canvases on the back. If you don't see my signature and the date, madam, it's because the frame is hiding it.
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I'm a big fan of Edouard Vuillard, so I'd like anything by him - particularly a painting called 'Madame Hessel on the Sofa.' His work is realistic without being literal: I can really imagine what Madame Hessel is thinking.
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My work since the late '80s specifically questioned what was presented as the 'natural' order of things in the history of post-war-N.Y. painting.
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When I am in New York, you know, my studio is big, about 20,000 to 25,000 square feet, and I have painting rooms and rooms I do etching in, rooms I do lithographs.
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I acquired quite a lot of technical skill and got quite a long way with my painting, but I never felt I was doing what New Zealand was about with my paint.
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For one thing, I want gesture-any kind of gesture, all kinds of gesture-gentle or brutal, joyous or tragic; the gesture of space soaring, sinking, streaming, whirling; the gestures of light flowing or spurting through color. I see everything as possessing or possessed by gesture. I've often thought of my paintings as having an axis around which everything revolves.
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I think that there is not really a difference between a 'Peanuts' and a beautiful Renaissance painting. There is something very romantic in the 'Peanuts' - it's at the same level of a novel or a Jane Austen story or a beautiful embroidered rose fabric. It is a piece of romanticism.
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The portability of the book, like that of the easel-painting, added much to the new culture of individualism. (p. 233)
