Best 1313 quotes in «painting quotes» category

My early paintings weren't that good - I was very influenced by Francis Bacon. But there was a kind of intensity there. And however influenced they may have been by other people, even my earliest paintings were recognisably my own.

[My father] did every kind of work imaginable from painting to shoveling to herding cattle. And he's always been such an inspiration to me because of the very kinds of things that he did and the kind of life he lived.

My favourite painting is often the one or the collection that I am currently working on. This is probably due to the fact that I don't yet know where it will take me.

My goal is to make all my paintings clear and realistic, even more understandable than a photograph.

My hobbies are painting, crafts, and I like golfing.

My instinct about painting says, 'if you don't think about it, it's right.' As soon as you have to decide and choose, it's wrong. And the more you decide about, the more wrong it gets.

My interest in painting is recording things. I think of myself as almost a documentary filmmaker... I've gotten into some curious situations.

My life is a creative act--like a painting, or a concerto.This is quotes copyright © By Pumpkin Limited

My method is subtraction. I use erasers to make the images in my paintings. You really have to see it to fully get it, but it is basically erasing shapes from a background of paint.

My movement from painting to film was a very conscious one.

My nervous system is very much weakened - nothing but painting in oil can keep me going.

My only worry is the painting I'm doing. Nothing else.

My paintings are not meant to be tasted.

My paintings are rubbish.

My paintings are titled after they are finished. I paint from remembered landscapes that I carry with me - and remembered feelings of them, which of course become transformed. I could certainly never mirror nature. I would more like to paint what it leaves with me.

My painting does not come from the easel.

My paintings cannot be a negation of what has always been and always will be necessary - drawing and search for values.

My paintings are reflections of my own inner mysteries... they all reflect my relationship to my steadiest of companions and muses - nature and animals.

My paintings are wiser than I am.

My paintings do not have a center, but depend on the same amount of interest throughout.

My paintings seem to make the strongest impression on people who are, well, who are crazy.

My painting occurs when I think of two disparate elements.

My paintings and comedy have a lot in common. They are both improvisations based on observation.

My paintings are so legible, I feel guilty.

My paintings don't simply represent what I see; they present viewers with what I want them to see.

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.

My portraits are half what I see and the other half is invented or dictated by the person and the painting.

My problem painting from my life was I found that you can't paint dirt without romanticising it.

My skills are not of the highest caliber, but I know a thing or two, and I occasionally produce a painting that contains passages of truth and beauty.

My skin is an art gallery right, with paintings and crucifixes hoping to save me from all the dangers in the music business

My still-life painting has more to do with light and shadow than with the objects themselves.

My work since the late '80s specifically questioned what was presented as the "natural" order of things in the history of post war NY painting.

My work has so much to do with reality that I wanted to have a corresponding rightness. That excludes painting in imitation.

Never ruin a good painting with the truth.

Ninety per cent of the theory of Impressionist painting is in . . . Ruskin's Elements.

Nothing is so improving to the temper as the study of the beauties either of poetry, eloquence, music, or painting.

No matter what medium I'm using, or what subject I'm painting, I do retain a fairly set approach to painting.

Not even pencil or charcoal is needed. Drawing can also be done with a brush. But drawing is a must, if not, no painting can resist.

No one but myself knows the anxiety I go through and the trouble I give myself to finish paintings which do not satisfy me and seem to please so very few others.

Not everything in life can or should be explained. Part of every painting should be incomplete...to be completed in the mind of the viewer.

Not the victims of any specific ideology of the left or of the right, but of the ideological posture as such. This has to do with the everlasting human dilemma in general: to work for a revolution and fail.

Novels are like paintings, specifically watercolors. Every stroke you put down you have to go with. Of course you can rewrite, but the original strokes are still there in the texture of the thing.

Occasionally, when I get mad at a woman, I'll do some great, awful painting about her.

Now I'm a painter. That was another opportunity I was able to pursue, I've been painting all my life, now it's become a second career because of my success in the movies.

Now will never leave. It is always here. Like a clear canvas, it awaits our painting.

Oil painting did to appearances what capital did to social relations. It reduced everything to the equality of objects. Everything became exchangeable because everything became a commodity.

Of course, my painting outfit has to be the focus of the shoot to promote a designer, or if I wear my own it will inspire someone's next collection!

Oil-painting is a developed technique. Why go backwards?

One learns about painting by looking at and imitating other painters.

On an instrument you start from one tone. In painting you start from several.