Painting Quotes
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And here in my isolation I can grow stronger. Poetry seems to come of itself, without effort, and I need only let myself dream a little while painting to suggest it.
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All painting worth its name, unless one is talking about black and white, must include the idea of color as one of its necessary supports, in the same way that it includes chiaroscuro, proportion, and perspective.
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The most joyous painting is not done for the art world, it is done for the inner world.
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The edge of a painting is its frontier... where the artist negotiates his boundaries with the real world... where art begins and ends and where the eye enters and leaves the image. It determines, in an infinitely subtle number of ways, how you read a painting - which, unlike a book or a piece of music, has no pre-determined beginning or end.
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Yes, I abandoned everything. Painting required it. It was all or nothing.
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In some exquisite critical hints on "Eurythmy," Goethe remarks, "that the best composition in pictures is that which, observing the most delicate laws of harmony, so arranges the objects that they by their position tell their own story." And the rule thus applied to composition in painting applies no less to composition in literature.
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Mount Tamalpais became my house. For Cezanne, Sainte-Victoire was no longer a mountain. It was an absolute. It was painting.
Etel Adnan -
I paint very directly. I go from top to bottom. When I get to the floor, the painting is finished.
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Painting is being alive. Through my painting, I beat back this world that stops us living and where we are in constant danger of being destroyed.. .No, you have to know when to keep silent.
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Painting is getting in touch with the truth. It's a matter of summoning up the vision I need.
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There is an aesthetic excitement about painting which is one of the most beautiful experiences that can be. Put things down while you feel that joy.
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My ambition is to construct a painting so that the whole of its surface is alive, however I look at it. Each mark, and the interval between each mark must give something back on its own terms.
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My inspiration came from the land, ... and, of course, from Paul Klee . . . and the poetics of his paintings.
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There is something particularly fascinating about seeing places you know in a piece of art - be that in a film, or a photograph or painting.
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I'm not knocking conceptual art; it's another department, but it doesn't move me like painting.
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Sometimes you need to live with a painting for a while. Starting a painting can be easy, but finishing it... that's the skill of the painter, how you finally know when it's done.
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Painting is a hobby for me.
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Painting on the ground was a cool challenge because you can't just stand back and see what you're doing.
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He who has learned what is commonly considered the whole art of painting, that is, the art of representing any natural object faithfully, has as yet only learned the language by which his thoughts are to be expressed.
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You may dream freely when you listen to music as well as when you look at painting. When you read a book you are the slave of the author's mind.
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My still-life painting has more to do with light and shadow than with the objects themselves.
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You must hold on to the sort of finger-painting aspect of music. That's something I learned, particularly from listening to Neil Young. Tom Waits is another one, because Tom's music is incredibly sophisticated and beautifully arranged, but he's using a toolbox that's unlike anybody else's.
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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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I have told myself a hundred times that painting - that is, the material thing called a painting - is no more than a pretext, the bridge between the mind of the painter and the mind of the spectator.
