Best 32 quotes in «painters quotes» category

I'm completely aware of Matisse and what he said, that painters must begin by cutting out their tongues.

No one is good; no one is evil; everyone is both, in the same way and in different ways. … It is so small a thing, the life of a man, and yet there is time to do great things, fragments of the common task.

'Paint only what you see,' his hero Millet had admonished. 'Imagination is a burden to a painter,' Auguste Renoir had told him. 'Painters are craftsmen, not storytellers. Paint what you see.' Ah, but what they hadn't said, hadn't warned him about, was how much you could see.

Lovers tend to be philosophical, achievers are practical.

No sketches first, no studies, that's long past: I do what many dream of, all their lives, --Dream? strive to do, and agonize to do, And fail in doing. I could count twenty such On twice your fingers, and not leave this town, Who strive--you don't know how the others strive To paint a little thing like that you smeared Carelessly passing with your robes afloat,-- Yet do much less, so much less, Someone says, (I know his name, no matter)--so much less! Well, less is more, Lucrezia: I am judged. There burns a truer light of God in them, In their vexed beating stuffed and stopped-up brain, Heart, or whate'er else, than goes on to prompt This low-pulsed forthright craftsman's hand of mine. Their works drop groundward, but themselves, I know, Reach many a time a heaven that's shut to me, Enter and take their place there sure enough, Though they come back and cannot tell the world.

It's very hard to reach people in Greymouth with pottery or any form of art because they're allergic to it. Allergic to it ever since they began really because they've taken from the ground in the mining spirit without making or creating, and therefore anything that is creative they do not understand.

Noa sleeps with the curtains open, allowing as much moonlight as possible to flood her bedroom, allowing her to see each and every picture on the walls, if only as a pale glimmer. It took Noa weeks to perfect the art display. Reproductions of Monet's gardens at Giverny blanket one wall: thousands of violets- smudges of purples and mauves- and azaleas, poppies, and peonies, tulips and roses, water lilies in pastel pinks floating on serene lakes reflecting weeping willows and shimmers of sunshine. Turner's sunsets adorn another: bright eyes of gold at the center of skies and seas of searing magenta or soft blue. The third wall is splashed with Jackson Pollocks: a hundred different colors streaked and splattered above Noa's bed. The fourth wall is decorated by Rothko: blocks of blue and red and yellow blending and bleeding together. The ceiling is papered with the abstract shapes of Kandinsky: triangles, circles, and lines tumbling over one another in energetic acrobatics.

The artists are the most powerful ones, the creators, first are the painters, working without words, second are the music composers, and third are the writers.

Pragmatism is good prevention for problems.

The biggest spur to my interest in art came when I played van Gogh in the biographical film Lust For Life. The role affected me deeply. I was haunted by this talented genius who took his own life, thinking he was a failure. How terrible to paint pictures and feel that no one wants them. How awful it would be to write music that no one wants to hear. Books that no one wants to read. And how would you like to be an actor with no part to play, and no audience to watch you. Poor Vincent—he wrestled with his soul in the wheat field of Auvers-sur-Oise, stacks of his unsold paintings collecting dust in his brother's house. It was all too much for him, and he pulled the trigger and ended it all. My heart ached for van Gogh the afternoon that I played that scene. As I write this, I look up at a poster of his "Irises"—a poster from the Getty Museum. It's a beautiful piece of art with one white iris sticking up among a field of blue ones. They paid a fortune for it, reportedly $53 million. And poor Vincent, in his lifetime, sold only one painting for 400 francs or $80 dollars today. This is what stimulated my interest in buying works of art from living artists. I want them to know while they are alive that I enjoy their paintings hanging on my walls, or their sculptures decorating my garden

the painter had no need for grammar. words fell from his brushes already knowing where to stand, sit, lie down.

The painter knew that color was not something you controlled but something you set free. He believed that color knew its way home.

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.

To love is a natural instinct. To be loved is “something”. To be loved like crazy, like their life depends on you is a once-in-a-lifetime feeling. How many of us can keep their right hand on their heart and say that they have actually experienced something like that? Not many, I guess. Because you know what, once-in-a-lifetime moments, well, come once in a lifetime. You either have to extremely, enormously and tremendously lucky or have to manage to fascinate a poet or a painter or someone really very naïve or mentally unsound.

They’re all daubers, today’s painters; they’ve completely lost touch with the classical tradition, the subtle, noble craft of the old masters. They muddle along with no respect for the laws of anatomy, don’t even know how to glaze, never mix their own paint, use turpentine like water, and are ignorant of the secrets of grinding your own pigments, of fine linseed oil and the blowing of siccatives—no wonder there are no more great painters.

Virgil had read once that Grandma Moses was a primitive painter because she thought snow was white. The writer said if you really looked at it, snow was hardly ever white. It mostly was a gentler version of the color of the sky - blue, gray, orange in the evenings and mornings, often with purple shadows. When he looked, sure enough, the guy was right, and Grandma Moses had her head up her ass.

To paint one must forget everything else. Where you live, who you know, what you eat, when to sleep. The landscape of the canvas becomes your only reality. The planet you inhabit is a single plane of infinite dimensions, stretched like a guitar string, and standing before you like a concubine waiting for your command.

Trust me. What a phrase. Is it a phrase or an idiom? I was never a wordsmith and I was too far along in life to even attempt to tackle a problem as complicated as words. Do writers struggle as much with words as a painter does with his paint and his brush? “Okay,” it is impossible not to trust a beautiful woman. Even macho noir anti-heroes who talk about staying out of trouble and doin’ nothin’ for nobody always get sucked into intricate snares set for them by beautiful women… I would not be an exception.

When a work of painting, music or other form attains two-way communication, it is truly art. One occasionally hears an artist being criticized on the basis that his work is too 'literal' or too 'common.' But one has rarely if ever heard any definition of 'literal' or 'common.' And there are many artists simply hung up on this, protesting it. Also, some avant-garde schools go completely over the cliff in avoiding anything 'literal' or 'common'—and indeed go completely out of communication! The return flow from the person viewing a work would be contribution. True art always elicits a contribution from those who view or hear or experience it. By contribution is meant 'adding to it.’ An illustration is 'literal' in that it tells everything there is to know. Let us say the illustration is a picture of a tiger approaching a chained girl. It does not really matter how well the painting is executed, it remains an illustration and it is literal. But now let us take a small portion out of the scene and enlarge it. Let us take, say, the head of the tiger with its baleful eye and snarl. Suddenly we no longer have an illustration. It is no longer 'literal.' And the reason lies in the fact that the viewer can fit this expression into his own concepts, ideas or experience: he can supply the why of the snarl, he can compare the head to someone he knows. In short, he can CONTRIBUTE to the head. The skill with which the head is executed determines the degree of response. Because the viewer can contribute to the picture, it is art. In music, the hearer can contribute his own emotion or motion. And even if the music is only a single drum, if it elicits a contribution of emotion or motion, it is truly art.

What a face this girl possessed!—Could I neither die then nor gaze at her face every day, I would need to recreate it through painting or sculpture, or through fatherhood, until a second such face could be born.

Anyway, for whatever interest is to be derived therefrom. Bacon, Balthus, and Magritte are my three favourite painters, along with Dubuffet, of the whole post-impressionist period, by which I mean that before them Bonnard, Vuillard, & Seurat are my favourite painters of that time.

A painting shouldn't be just a picture, it should be a philosophy.

He remembered that in the art books he had leafed through at Leader's, many paintings depicted death. A severed head on a platter. A battle, and the ground strewn with bodies. Swords and spears and fire; and nails being pounded into the tender flesh of a man's hands. Painters had preserved such pain through beauty.

Being a painter, I ought to say why in pictures people's faces are painted green and red.

Glory is reserved for the twisted minds.

Artists, real artists, have to work. They can’t be hedonists. Really good painters are always working. The world is such a marvelous place. You have to look and to work. That’s exactly why Van Gogh was such a great artist: total commitment. That’s what you need.

Does anyone ask a painter -- even the painter himself -- why he paints? Now me, I painted... used to... whatever I saw that was beautiful. It had to be beautiful to me, through and through, before I would paint it. And I used to be a pretty simple fellow, and found many completely beautiful things to paint. But the older you get the fewer completely beautiful things you see. Every flower has a brown spot somewhere, and a hippogriff has evil laughter. So at some point in his development an artist has to paint, not what he sees (which is what I've always done) but the beauty in what he sees. Most painters, I think, cross this line early; I'm crossing it late. ("To Here and the Easel", 1954)

Forget scientists. The next space launch we should send up painters, poets and musicians. I’d be more interested in what they discover than anything that takes place in a test tube.

I came there again another time. And I looked many times again. I was filled with consolation, with my consolation. The thirty-three abominations were truthful. They were the truth. They were life. The sharp fragments of life, sharp, complete moments. Such are women. They have lovers. Each of these thirty-three (or how many of them were there?) had painted his mistress. Excellent! I grew used to myself being in their presence. Thirty-three mistresses! Thirty-three mistresses! And I was all of them and yet all were not me. I studied the abomination for a long while: before I modeled for them, as well as afterwards. I modelled in order to study. This I felt so keenly. It seemed to me that I was learning about life by pieces, by separate pieces, fragments, but every fragment possessed all its own complexity and power. The abominations began to divide in half. With every day this became clearer. One half became mistresses and the other half queens. Each of the thirty-three created his mistress or his queen. ("Thirty Three Abominations")

If you're an artist, always keep at it, there will be someone out there who sees the universe and soul in what you've created. Maybe they can't afford it, but it calls them like the siren in a sea, and they've saved for months and scraped, thinking all the time about how one piece you made has moved them. You can change a person's moment with your work, don't forget that. If you're an author, someone out there has read your work. They've laughed with your characters. They've cried with them. They've escaped into your fantasy or memories, and they've been changed by you. Nothing they do afterward will be the same. You will forever make them different and who they will become. Please don't forget that. If you're a singer or musician, you inspire others. People sing when they feel great emotion. If you're one of those who bursts into song at a moment's notice, imagine what that can do to brighten someone else's day. People are listening. They see you, who you really are. They are feeling the magic of those moments with you. You never know who's life you can change. You never know who is listening. Never forget that. It doesn't matter what kind of magic you create, don't ever stop. There is beauty, pain, and so many other things that depend on you to continue. Never stop. Let the world see your magic. Perform your craft with all of the fibers of your being. Shine with your light. Edge with your darkness. Do what you must, but never stop. Your creations are a gift to the world, so give with all your might. You never know who might need it.

I had not then acquired the technique that I flatter myself now enables me to deal competently with the works of modern artist. If this were the place I could write a very neat little guide to enable the amateur of pictures to deal to the satisfaction of their painters with the most diverse manifestations of the creative instinct. There is the intense ‘By God!’ that acknowledges the power of the ruthless realist, the ‘It’s so awfully sincere’ that covers your embarrassment when you are shown the coloured photograph of an alderman’s widow, the low whistle that exhibits your admiration for the post-impressionist, the ‘Terribly amusing’ that expresses what you feel about the cubist, the ‘Oh!’ of one who is overcome, the ‘Ah!’ of him whose breath is taken away.

I have two options as an artist; achieve success or cause an uproar. The second option is my major goal.