Painting Quotes
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A painting is merely the image of a tree, a man, or any other object reflected in a fountain. The difference between a painting and sculpture is the difference between a shadow and the thing which casts it.
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Painting is a matter of finding the right balance between consoling and reassuring the eye and challenging and disturbing the eye.
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My work is not so overtly about movement. My horses' gestures are really quite quiet, because real horses move so much better than I could pretend to make things move. For the pieces I make, the gesture is really more within the body, it's like an internalized gesture, which is more about the content, the state of mind or of being at a given instant. And so it's more like a painting...the gesture and the movement is all pretty much contained within the body.
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I love getting my nails done. My mom's best friend is a manicurist. When I was little, she'd do little paintings on my nails, like flowers.
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There is only the present. A painting is an instant of time that has escaped oblivion.
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If you didn't know what you were trying to do, Robert von Neumann wouldn't say a word. He would just turn and walk away. So you very quickly learned to think that you'd better be attempting to do something in that painting class.
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I'm much more of a minimalist. My mom was Russian, so she loved lots of jewelry and opulence and tons of paintings on the wall and lots of clothes. I'll buy one thing that I love a season and wear it all the time.
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Painting is a jeu d'esprit.
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Writing is fifty years behind painting.
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I wish I felt energetic and could paint all the time, because there are so many paintings I'd like to do.
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I've been hurting most of my life. I tried to pretend I wasn't. I even believed my own lie. I've lived my entire life trying to avoid pain...That's a terrible way to live. I don't care any more if it hurts...If I'm working on a painting, and it doesn't hurt, then the painting won't matter. And if it doesn't matter, then it isn't real—then I'm not real...I have a new theory...if I develop a great capacity for feeling pain, then I am also developing a great capacity for feeling happiness.
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I consider my painting finished when my eyes goes to a particular spot on the canvas. But if I put the picture away about thirty feet on the wall and the movements keep returning to me and the eye seems to be responding to something living, then it is finished.
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Painting is a faith, and it imposes the duty to disregard public opinion.
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There are teachers and students with square minds who are by nature meant to undergo the fascination of catagories. For them, 'schools' and 'movements' are everything; by painting a group symbol on the brow of mediocrity, they condone their own incomprehension of true genius.
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Is there in painting an effect which arises from the being together of repose and energy in the artist's mind? - can both repose and energy be seen in a painting's line and color, plane and volume, surface and depth, detail and composition? - and is the true effect of a good painting on the spectator one that makes at once for repose and energy, calmness and intensity, serenity and stir?
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If you ask me what the world looks like to me, it looks like a painting by Pissarro.
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For me, acting is about the art of it and it's about being on a film set and doing your thing, painting a blank canvas.
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A painting, you know, it's all dirty material. But it's about transformation. Taking that earth, that heavy earthen kind of thing, turning it into air and light.
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I thought I was painting in sound a picture of revolution - but I made a mistake, you know. The mistake was that it was anti-revolution.
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Well, I really don't want to be a high-powered corporate lawyer. I'm really passionate about painting.
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How people make gardens is bound to reflect a way of experiencing the natural world, while at the same time this experience of nature is bound to reflect a culture - ways of painting nature, for example, or representing nature in literature, or of course making gardens.
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I'd never painted anything before. I was quite content to take other people's work since I didn't care anyway about the subject matter. I approached subject matter as a scoundrel. I had nothing to say about it whatsoever. I only wanted to make these exciting paintings.
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Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them suddenly all problems would subside.
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If it hurt me to have to give up a painting I figured it had to hurt them to write the check. That's how I came up with the price for my work.
