Best 1313 quotes in «painting quotes» category

I think we seem to remember things in still pictures. I never gave up on painting. When they said painting was dead, I just thought, Well, that's all about photography, and photography's not that interesting, and it's changing anyway.

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.

It is an intimately communicative affair between the painter and his painting, a conversation back and forth, the painting telling the painter even as it receives its shape and form.

It is easy to have a lot of paintings or projects hanging around that are 'almost done.

It is far easier to debate about realistic painting than to paint one.

It is not hard to understand modern art. If it hangs on a wall it's a painting, and if you can walk around it it's a sculpture.

It is not right for painters to think that painting is like prostitution, that 'first you do it for love, then you do it for others, and finally you do it for money.

It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.

It is simply impossible to control a large painting with the edge in the same way that you can control a small one.

It is the painting that makes me so happy these days.

It is well for young men to have a model, but let them draw the curtain over it while they are painting.

It is true that the Drive-By Media is not spending a lot of time covering the Donald Trump Middle East trip. The reason is, they don't want to write or televise any of this because it's in such stark contrast to the pictures they've been painting of Trump. It's so incongruent. It's so inconsistent. In addition to all else, it is the protection of the Barack Obama legacy.

It's good to be employable, but I hope to show the truth. The paintings seem true because nobody wants me to do them.

I trust the symbol that is arrived at in the making of the painting. Meaningful symbols aren't invented as such, they are made or discovered as symbol later.

I transformed myself in the zero of form and emerged from nothing to creation, that is, to Suprematism, to the new realism in painting - to non-objective creation.

I try to not get to the point where one is making wallpaper, or simply painting money. I want to make sure that I am at least trying to weigh myself down, that there's a challenge each time.

It's all about commerce. Movies are not made like paintings, where you can make them for free and put them at the side. Movies are supposed to make money.

It's a privilege, you know, to paint and it takes up a lot of time and it means there's a lot of things you don't do. But still, with me, painting was more than a profession, it was also an obsession. I had to paint.

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.

It's still an escape for me, painting, so it also takes me elsewhere. I don't think I would do it otherwise.

It's more this instinct to get in trouble, and then get myself out of trouble. That's what painting is for me.

It's not a matter of painting life, it's a matter of giving life to painting.

It took me 40 years to find out that painting is not sculpture.

It's weird making a drawing of painting. I start to realize that charcoal is this incredibly fragile material. I'm making images of paintings out of dust.

It took me time to understand my water lilies. I had planted them for the pleasure of it; I grew them without ever thinking of painting them.

It took me twenty years to discover painting: twenty years looking at nature, and above all, going to the Louvre.

I underwent a whole process of slowly letting go of idiosyncrasies and habits and embellishments and everything extraneous to the essentials that I'm unwilling to let go of. I never dreamed that I would be making black-and-white paintings with so little embellishment. But it's been liberating in many ways to let go of that and yet see what I did want to retain.

I understand my own pictures best six months after I have done them.

It used to be that if you stood in front of a painting you didn't understand, you'd have some obligation to guess. Now you don't.

It wouldn't be right for me to clown around when I'm painting a president.

I've always seen process of crafting as part of the thinking process. It really forms the gestation of the work. I'll get an idea; I want to express this idea, sometimes I'll start it, but during the process of making the object - if it's an object or a painting - it changes. It never goes in a linear progression from A to Zed. It's always this kind of circuitous, stumbling, groping in the dark kind of process of evolving.

I've reached a point in my life where my Truman Show boat has hit the painting.

I've been creating in some capacity forever. It was always usually painting and drawing, but I've been exploring more video and sculpture in recent years. But they're all kind of the same thing to me, in a way. They're all forms of production and output. As a creative person, sometimes you can't live without creating or producing something.

I’ve learnt from experience that a painting isn’t finished when you put down your brush – that’s when it starts. The public reaction is what supplies meaning and value. Art comes alive in the arguments you have about it.

I've been attracted to imagery and occasionally I've drawn from it, but I never thought I'd be painting these paintings. I didn't have any desire to. I didn't think there was any reason to.

I've been playing piano my whole life, but I'd never tried to understand how compositions are made, really. Try to imagine if you'd loved paintings your whole life but had never painted one. My aspiration now is just to understand.

I've been trying to pick up painting but it's hard.

I've known painters who never did any good work because instead of painting their models they seduced them.

I've never let one day go by without painting, or at least without drawing.

I've tried to decentralize and interpenetrate so that all parts of a painting are of related value.

I wanted to show painting paintings first, then the plate paintings; now I can show that I've sort of freed myself from stylistic inhibitions.

I want it to be more universal than that - like a painter doesn't have to explain his life story away to justify his painting.

I want my paintings to look like what's going on outside my window rather than what's inside my studio.

I want painting to be my flashlight.

I want the people looking at my work to feel a sense of all the possibilities of painting, and, through that, in life as a whole. When that happens, I feel I've accomplished something useful.

I want the paintings to take me or the viewer out somewhere else.

I want to die painting.

I want my paintings to have a light of their own, they must glow from inside.

I want painting to be difficult to do.

I want the viewer to be overwhelmed. I want the space to feel like it is caving in on the viewer and that they are forcibly entering the world of my paintings. I want there to be a feeling of overpowering decadence to the work, that is almost too much to take. I don't want them to be subtle.