Best 8185 quotes in «artist quotes» category

The task of the artist is to make the human being uncomfortable.

The teacher, like the artist, the philosopher, and the man of letters, can only perform his work adequately if he feels himself to be an individual directed by an inner creative impulse, not dominated and fettered by an outside authority.

The term 'giant' is used too often to describe artists. But in the case of Akira Kurosawa, we have one of the rare instances where the term fits.

The technical procedures doubtless release energies in the artist that remain unused in the much more lightweight processes of drawing or painting (remark on printmaking).

The tendency of our perceptions is to emphasise increasingly the objective elements in an impression, unless we have some special reason, as artists have, for doing the opposite.

The technician should never forget that he is an artist, the artist never that he is a technician

The technology can help the artist work in a different way and the artist also helps define what the technology should be. They call for the tools that they want to be able to tell their story. I thought that was really exciting and interesting.

The technology keeps moving forward, which makes it easier for the artists to tell their stories and paint the pictures they want.

The thief, as will become apparent, was a special type of thief. This thief was an artist of theft. Other thieves merely stole everything that was not nailed down, but this thief stole the nails as well.

The thermometer of success is merely the jealousy of the malcontents.

The thing about being an artist today is you get to develop right in front of people's eyes before you even put out an album.

The thing I like about the band [Dead Child] is that there's no pretense. We aren't even trying to be artists or poets.

The thing about hip-hop is they always want to classify you as one particular artist, but hip-hop is about going outside the box and expressing yourself however you want to.

The thing about living in New York is that there are other artists; that is the most difficult, I think they are the hardest critics.

The thing I'm obsessed with is really great bad paintings. I have a storage locker full of them and I want to give them their own museum. You don't even know who these artists are - you can buy them at garage sales, antique stores and places like that. They're brilliant because they were done with the intention of being great, but the artist sort of made a wrong turn. Some of them are hilarious and I can't get enough of them.

The thing about being on the majors, from the beginning, going into this, I was like, "I'm not going to be treated like a factory," because that's never the way it was done before. You're talking about a major label, we're talking about serious business; you're not an artist anymore, you're a business, you have to work in terms of product, you have to release a product, and I don't really think that way at all.

The thing I'm going through is probably like the same thing that Little Richard and all these other artists go through, that I hear about them, saying, 'Oh damn, you ain't gonna give me nothing till I die,' ... I feel like I'm one of those type of great people that just going to have to wait till it's all over with for people to really sit around and talk about it.

The things of nature are the Lord's silent ministers, given to us to teach us spiritual truths. They speak to us of the love of God and declare the wisdom of the great Master Artist.

The thing that a lot of people may or may not know is every artist is a cinephile, whether they watch movies whether they're painting, or have films that influence them.

The thing represented had to pass through two distorting lenses: the artist's mind, and his medium of expression, before it emerged as a man-made dream - the two, of course, being intimately connected and interacting with each other.

The thing I wondered about so much as a young artist, particularly when things weren't going well and I was really struggling, was, "Will I know when to give up? Will I know when I've suffered enough rejection? Will I know when to get out?

The thing to judge in any jazz artist is, does the man project and does he have ideas.

The thing that's tricky is sometimes the best voices - just because someone hits the big notes and sounds amazing - it doesn't necessarily mean they make the greatest artists.

The thing that's interesting as you get older as an artist is that the biggest challenge seems to be: how do you stay relevant?

The time-honored role of the artist [is] to speak truth to power.

The tools are real. The viewer is real, you, the artist, is real and a part of everything you paint. You connect yourself to the viewer by sharing something that is inside of you that connects with something inside of him. All you have as your guide is that you know what moves you. All you have to do it with is a brush, some chemical and canvas, and technique.

The tones of gray, pale turquoise and pink will prevail.

The Tonys are the once-a-year shot for all of these shows and artists who work so diligently every single performance but only for a thousand or so people at a time. This gives them the opportunity to perform to millions of people.

The tradition of classical music and the opera is such that it used to be the place where social intercourse could take place between all parts of society: politicians, industrialists, artists, citizens, etc. That tradition, I think, still exists, but it's much, much more diluted.

The transition from painter to artist comes when you cross the line of painting what you see to painting what you feel about what you see.

The transition state of manners and language cannot be too often insisted upon: for this affected the process at both ends, giving the artist in fictitious life an uncertain model to copy and unstable materials to work in.

The traditional model for a company like Coca-Cola is to hire one big advertising agency and essentially outsource all of its creativity in that area. But Coca-Cola does not do it that way. It knows how to manage creative people and creative teams and it has been quite adept at building a network that includes the Creative Artists Agency in Hollywood, which is a talent agency.

The tricky thing about being a writer, or about being any kind of artist, is that in addition to making art you also have to make a living.

The trouble with a lot of artists today is that they have too much technique and equipment. They don't know what to do with it all. If you cut down on it, you can work more strongly within narrower limits.

The trick is to paint a picture that doesn't exist, and yet that fits perfectly into an artist's body of work.

The trouble with being a ghostwriter or artist is that you must remain rather anonymously without credit. If one wants the credit, one has to cease being a ghost and become a leader or innovator.

The true gardener, like an artist, is never satisfied.

The true martial artist yields to the weak, while withstanding the strong.

The true artists is one who insists on producing a supply, whether or not there's any demand.

The true cook is the perfect blend, the only perfect blend, of artist and philosopher. He knows his worth: he holds in his palm the happiness of mankind, the welfare of generations yet unborn.

The trouble with the artists this year is they are all obsessed with Twitter and headlines. It feels like they are all getting a bit above themselves.

The true artist helps the world by revealing mystic truths.

The true artist and the sane collector never will tolerate insincerity and impudence.

The true artist is known by what he annexes, and he annexes everything.

The true artist can only labor con amore.

The truly original artist invents his own signs.

The true poem is the poet's mind.

The truth is an artist like me who doesn't get the type of promotion that we see more commercial artists receive, and especially in this climate of the music business, you have to be creative about how you promote yourself.

The truth is that from birth on we are, to one extent or another, a fairly sensual species.

The twentieth-century artist who uses symbols is alienated because the system of symbols is a private one. After you have dealt with the symbols you are still private, you are still lonely, because you are not sure anyone will understand it except yourself. The ransom of privacy is that you are alone.