Painting Quotes
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I can't just have one painting - I need to cover the wall in paintings. It's the same with my music. I want to mix everything together to create more.
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Very few people have a natural feeling for painting, and so, of course, they naturally think that painting is an expression of the artist's mood. But it rarely is. Very often he may be in greatest despair and be painting his happiest paintings.
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That sculpture is more admirable than painting for the reason that it contains relief and painting does not is completely false. ... Rather, how much more admirable the painting must be considered, if having no relief at all, it appears to have as much as sculpture!
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I am painting with the same enthusiasm as a Marseillaise eats bouillabaisse ... I am painting big sunflowers.
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There are quite a lot of people asking for a painting so I'm not able to fulfil all their wishes. And this gives me a lot of freedom, because if I cannot please them at all I don't have to start to try.
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The beginning of a painting is a very energized, exciting time, and it generates most of the energy I have. If I've gotten 75 per cent of it down, then it takes an effort to really get up that kind of energy to finish it in the same way it's begun.
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I haven't many years left ahead of me and I must devote all my time to painting, in the hope of achieving something worthwhile in the end, something if possible that will satisfy me.
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I haven't stopped painting or drawing - I've just added another medium.
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There's a reticence necessary when you consider the suffering of others. Into the space created by that reticence, you bring in those things that best help us confront ambiguity: music, painting, film, and so on.
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An artist must forget painting when he paints. That's the only way he will do original work.
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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.
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The author Goya is convinced that it is as proper for painting to criticize human error and vice as for poetry and prose to do so, although criticism is usually taken to be exclusively the business of literature.
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You get a painting idea, and you go do that. You get a cinema idea, and you go in to do that. The difference is, even though the paintings might take some time to make, with cinema you are booked for a year and a half, minimum.
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I'd love to be considered a post-pop artist, but I love to have five or six different styles in every painting, just for the pleasure of the eye.
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If you do things, whether it's acting or music or painting, do it without fear - that's my philosophy. Because nobody can arrest you and put you in jail if you paint badly, so there's nothing to lose.
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It's strange with graffiti. You put a lot out, but you don't get that much back because not many people know who's doing it. You have your peers of about 10 guys who know you are the one painting.
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I'm painting an idea not an ideal. Basically I'm trying to paint a structured painting full of controlled, and therefore potent, emotion.
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Most people don't like to be confronted with an actual fact-of-life because it's difficult to metabolize. A painting of a bowl of fruit is much easier. It's for the same reason why we don't like going to the doctor. The diagnosis and x-rays are too honest. This is what creates the perception that contemporary art is shocking or suspicious.
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Or are you like the painting of a sorrow, a face without a heart?
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In figure painting, the type of all painting, I have endeavoured to set forth that the principal if not sole source of life enchantments are Tactile Values, Movement and Space Composition.
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A portrait is a painting with something wrong with the mouth.
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The first purpose of clothes... was not warmth or decency, but ornament.... Among wild people, we find tattooing and painting even prior to clothes. The first spiritual want of a barbarous man is decoration; as indeed we still see among the barbarous classes in civilized countries.
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Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?
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I look at the textures, surfaces, colors, and the individual objects in the painting. And then I wonder: what are the relationships among them? Those relationships are everything.
