Best 1 317 of Painting quotes - MyQuotes
You're trying to make your painting too complicated. Paintings get complicated all by themselves.
discovered is that I’m an image maker, and I don’t care how its made—whether it’s through painting or photography or drawing—I just want to create images.
I'm interested in the movement of the eyes across the painting.
Painting, I think it's like jazz.
To a large extent, the problems of poets are the problems of painters, and poets must often turn to the literature of painting for a discussion of their own problems.
You can not lie in your paintings, because you cannot hide from yourself.
Outline of your frame My paper witness your silhouette Sipping in coffee My muse, my Juliet. Afternoon spent, In hungry desires Ending with a kiss On your coffee lips.
He could even talk about painting, and that's more than can be said of most painters.
I would never have taken up painting if women did not have breasts.
I was in love. With a two-dimensional object. A mute in love with a painting. Lovely. Just lovely.
I didn't paint my paintings to hang in some rich guy's living room.
What makes you think painting is any less difficult than brain surgery?
My work has so much to do with reality that I wanted to have a corresponding rightness. That excludes painting in imitation.
The temptation is always to think of Las Vegas as a gambling mecca, the ‘Entertainment Capital of the World’. Well, it’s that. But, it’s a lot more than that as well. There are beautiful natural rock formations, rare plants and animals, and even pseudo-alpine regions. Just because you can see for a hundred miles doesn’t mean that there’s nothing there to see, and open desert allows you to see things in a different way. There is nothing to block your view, and nothing to hide behind.
You must break all the rules of painting, but you must also convince me you've had a reason to do so.
And if it is true that the image still has the function of speaking, of transmitting something consubstantial with language, we must recognize that it already no longer says the same thing; and that by its own plastic values painting engages in an experiment that will take it farther and farther from language, whatever the superficial identity of the theme.
All paintings are abstract ideas, not representations of a true reality.
Painting, for me, when it really 'happens,' is as miraculous as any natural phenomenon - as say, a lettuce leaf. By 'happens,' I mean the painting in which the inner aspect of man and his outer aspects interlock.
A lot of painters listen to music, I think, while they paint. But I hate to do that. It's a horror. I can't really listen to the music. I'm not really concentrating on it, and I'm not really concentrating on the painting.
I am out to introduce a psychic shock into my painting, one that is always motivated by pictorial reasoning: that is to say, a fourth dimension.
Leonardo Da Vinci
How painting surpasses all human works by reason of the subtle possibilities which it contains.
The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.
I am a great lover of art, in many forms: paintings, objets, textiles. I don't have the talent for painting, but I have a very good sense of colour, a love of visual beauty.
Ethics are no more a part of poetry than theyare of painting.
What is real for me are the illusions I create with my paintings. Everything else is quicksand.
Mehmet Murat Ildan
Any work done with love - be it a photo or a meal or a painting - always looks so pretty, because love is a master of creating magical beauties!
My paintings seem to make the strongest impression on people who are, well, who are crazy.
The more successful paintings just fall off the brush. The less successful ones take longer.
What can be said about a man who is interested in nothing but his painting? It's a pity if a man can only interest himself in one thing. But I can't do any thing else. I have only one interest.
why do you paint in the dark' i ask him and he looks not at me but away 'because i cannot bear my own darkness in the light' he is quiet for some time 'but inwardly i am told where there is paint to be and i paint it there in the dark so none can see myself truly burning in the sun
I do not think my painting has ever been revolutionary. It was not directed against any kind of painting. I have never wanted to prove that I was right and someone else wrong.
It's Frank's painting on the cover. We were originally going to use a Salvador Dali painting that we got permission from Salvador Dali to use, and Frank found this one, and it really did fit the music much more.
I like the transience of Klimt paintings.
But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.
I like setting up problems for the viewer, like how do you visually deal with a ring when what’s usually in the center of a painting is very important? It's like the main course isn't there and you're having to deal with everything around what would normally be the main course.
I almost never start with an image. I start with a painting idea, an impulse, usually derived from my own world.
Love is an art, Berk. Just like painting or music. Some painters draw mere lines, scratches on the canvas and call them art; some paint stars studded skies like van Gogh; or Chopin’s music conquers the hearts of millions while the execrable disco music blaring out of the open windows of a car have also their audience. Some describe love in high-flown flowery language and you identify yourself with the hero and the heroine and feel yourself in the seventh heaven while some give such a lamentable picture of it that you almost curse it!
I sat back and looked at it. It was ugly, dark, uncontrolled. Like a monster's face. Or maybe what I saw there was my own face. I couldn't quite tell. Was the face the image of something evil or the image of myself? "Both," Bea muttered, as if I'd spoken my question out loud. "Of course, it's both. But it shouldn't be. Goodness, no.
A painting is life and a painting is death . . . the picture is our own legacy left by tomorrow's dead for tomorrow's living.
A painting probably is the most shocking increase in value, from what it costs to make to what you sell it for.
Painting keeps me occupied in those moments when travel can be aimless and even disorienting. Mainly it is a way to register at least some of the new impressions of a foreign place, when its thrilling barrage can sometimes overwhelm you.
Take the birds which you'll have noticed in so many of my recent paintings. I never thought them up, they just materialized of their own accord; they were born on the canvas... it is absurd to read any sort of symbolic significance into them.
Every new painting is like throwing myself into the water without knowing how to swim.
For Merleau-Ponty, the phenomenology of the human body, the very phenomenon of the human body, is intimately linked to "the problems of painting": "Things have an internal equivalent in me; they arouse in me a carnal formula of their presence. Why shouldn't these [correspondences] in turn give rise to some [external] visible shape in which anyone else would recognize those motifs which support his own inspection of the world?" Painting brings forth a carnal visuality, an embodied and incarnate image, by establishing the internal equivalent ("in me") of the outside world, which is made of the "same stuff." I am an extension of the world, but the world extends, intensifies, forms a "line of intensity," to use Gilles Deleuze's idiom, inside me. The world forms a "strange system of exchanges" with me; I am constituted in an exchange with the world. Painting makes this continuity visible, is itself the visualization of this continuity, of this blending of the inside and out. Images—"designs" and "paintings"—says Merleau-Ponty, are "the inside of the outside and the outside of the inside, which the duplicity of feeling makes possible and without which we would never understand the quasi presence and imminent visibility which make up the whole problem of the imaginary.
Seneca The Younger
The artist finds a greater pleasure in painting than in having completed the picture.
When we did Cubist paintings, our intention was not to produce Cubist paintings but to express what was within us. No one laid down a course of action for us, and our friends the poets followed our endeavour attentively but they never dictated it to us.
Thomas Lloyd Qualls
The painter folded back the heavy curtain, standing in the stream of light breaking through the damp thickness of the room. He paused, still holding the drape in his hand as he considered with suspicion that a world could exist outside the window.
My pictures had and have secret lives, and so there were things I did not tell, a lot of stuff I did not say back then which I'm saying now... I intend to continue allowing forms of secret life to paintings I'm working on right now because it excites me to do that.
The men worked hard and faithfully. As a rule, in spite of the number of rough characters among them, they behaved very well. One night a few of them went on a spree, and proceeded "to paint San Antonio red." One was captured by the city authorities, and we had to leave him behind us in jail. The others we dealt with ourselves, in a way that prevented a repetition of the occurrence.
I hardly ever stretch the canvas before painting.