Painting Quotes
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In every painting, as in any other work of art, there is always an IDEA, never a STORY. The idea is the point of departure, the first cause of the plastic construction, and it is always present all the time as energy creating matter. The stories and other literary associations exist only in the mind of the spectator, the painting acting as the stimulus.
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Ideas for work are coming to me in abundance...I'm going like a painting-locomotive.
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For me making a digital photo is like making a watercolor... It's not a painting, and it's not a photo. It's something altogether new.
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If more than ten percent of the public likes a painting, it should be burned.
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In a painting, what counts is the unexpected.
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You are never tired of painting, because you have to set down not what you know already, but what you have just discovered.
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When you see Hitler burning paintings by Salvador Dali and Picasso he's telling you that this time period and these men and this culture didn't exist, and I've seen that happen in other countries, Sudan for instance, it's not enough to kill them you have to destroy all of their markings that they left that was their history.
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I think my painting is so autobiographical if anyone can take the trouble to read it.
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I just keep painting till I feel like pinching. Then I know it's right.
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It was a huge challenge to learn digital painting well enough so that computers don't pop into mind when one sees one.
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I want the people looking at my work to feel a sense of all the possibilities of painting, and, through that, in life as a whole. When that happens, I feel I've accomplished something useful.
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Well, something must be done for May, The time is drawing nigh-- To figure in the Catalogue, And woo the public eye. Something I must invent and paint; But oh my wit is not Like one of those kind substantives That answer Who and What?
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Braque always said that the only thing that counts, in painting, is the intention, and it's true. What counts is what one wants to do, and not what one does. That's what's important.
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One of the hardest things to do is to paint darkness which nonetheless has light in it.
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Being in the studio, it's more of a controlled environment, where you can be Salvador Dali and sit back and look at the painting. And you can go, 'Ah, you know what? Maybe a little bit more red over here...maybe add some blue over here.' You can sit back and look at the painting.
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I am working with the enthusiasm of a man from Marseilles eating bouillabaisse, which shouldn't come as a surprise to you because I am busy painting huge sunflowers.
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My first lesson in relativity: ..we had a still life set-up to paint. Suddenly I saw that the pitcher was so big his hands outside the shape of a pitcher, then close in and the glass was so big. From that time on everything was all right. Tobey is remembering his Saturday morning painting class
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Painting predicates what man wants to see, and what man ought to see, not what he ordinarily sees.
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I've started painting much more freely, and faster. I think it's working in the theatre that did it. You know what the Glyndebourne scene-painters said about my The Magic Flute? They said they had to wear sunglasses to paint it.
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Painting with all its technicalities, difficulties, and peculiar ends, is nothing but a noble and expressive language, invaluable as the vehicle of thought, but by itself nothing.
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I was hoping to do an impressionist painting, but I wanted a good likeness and I wanted to create a feeling of the lady as a person, as a human being rather than as a figurehead for the monarchy and a pomp-and-circumstance sort of formal portrait. I wanted more of a relaxed portrait.
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I paint ideas, not things. My intention is less to paint works that are pleasing to the eye than to suggest great thoughts which will speak to the imagination and the heart and will arouse all that is noblest and best in man.
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There is a kinship between music and painting - with the same words used to describe both, as when a musical composition is said to have color and a painting to have rhythm.
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The best painting comes out of compulsions and obsessions, out of deep love or hate, out of intellectual or emotional involvement with something that lies outside the painting itself.
