Painting Quotes
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When you first commence painting everything is a muddle. Even the commonest colors seem to have the devil in them.
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The temple of art is built of words. Painting and sculpture and music are but the blazon of its windows, borrowing all their significance from the light, and suggestive only of the temple's uses.
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When you look at a work of art, you don't see a cover for something else; you see revelation. If you're an artist, art is the truest expression of yourself. Even if you're painting a life you don't have.
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If art depended on content, then one painting of an apple would be as good as the next one.
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While adding the finishing touches to a painting might appear insignificant, it is much harder to do than one might suppose.
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The interesting thing about this is I don't know what my vision [ in Salome the play and Salomaybe] is yet about. I'm sensing something and I'm going along with it. It reminds me of a painting, the way Jackson Pollack painted - Jackson Pollack, the great, great artist.
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For me painting is a dramatic action in the course of which reality finds itself split apart.
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Painting is a duality and abstract painting is an entirely aesthetic thing. It always remains on one level. It is only really interesting in the beauty of its patterns or its shapes.
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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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The thrill of a photo-realist painter is if you get really close to the painting, it looks just like a photograph. Whereas in my case, if you get close to my paintings, they totally fall apart - so I'm about as far from a photo-realist as it gets.
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Every philharmonic orchestra merely interprets the composer. My goal was to create new music by that composer. In doing so, I wanted to find the painter's creative center and become familiar with it, so that I could see through his eyes how his paintings came about and, of course, see the new picture I was painting through his eyes - before I even painted it.
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The painting cannot be laid aside even for a day; for it takes constant work to keep 'flowing,' but above that it takes concentration, which in our language is consecration.
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I was living in a loft with Dave Sitek - this loft full of people just working on their stuff. Some were painting, some were writing. Any plans you had were kind of like a plan for the next two months.
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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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You usually want to get something out of a painting other than the ideas that you had in your head.
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Eloquence is a painting of the thoughts.
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I think the worst lie I ever told was, because my last name is Goth, I used to tell kids at school that I used to be related to 'Van Gogh' and when I turned 18, I would inherit all the fortune from the sunflower painting.
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Painting, an oeuvre, is not such a big deal, it is so unimportant. But that’s precisely what makes it interesting.
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The artist has the power to signoff the work by deconstructing the work itself: I've finished this work now and I'll sign it and relegate the painting to simply something that services my signature. The painting becomes the colorful backdrop of the signature.
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Color in painting lures the eyes as verses do in poetry.
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In Holman Hunt's painting, "The Light of the World, "Christ is shown in a garden at midnight, holding a lantern in His left hand. With His right hand He is knocking on a heavily paneled door. When the painting was unveiled, a critic remarked to the painter, "Mr. Hunt, the work is unfinished. There is no handle on the door." "That," Hunt answered, "is the door to the human heart. It can be opened only from the inside."
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In mathematics the complicated things are reduced to simple things. So it is in painting.
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I tried to find a language for the film - not just telling stories. I picked the Picasso painting because it said more than I could explain. I need images, I need representation which deals in other means than reality. We have to use reality but get out of it. That's what I try to do all the time.
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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.
