Best 1313 quotes in «painting quotes» category

When you are painting a landscape, assume the painting is real and the landscape is an illusion.

When you are older, you realise that everything else is just nothing compared to painting and drawing.

When you feel concentrated within the intensity of making paintings, you know exactly what you are doing.

When you're on a highway, viewing the western U.S. with the mountains and the flatness and the desert and all that, it's very much like my paintings.

Whether Iranians are drinking wine in the evening or painting something "offensive," they choose not to dwell on the fact that they could receive some seventh-century punishment. Laws are inconsistently enforced, and you can usually pay off police to look the other way.

Which painting in the National Gallery would I save if there was a fire? The one nearest the door of course.

While adding the finishing touches to a painting might appear insignificant, it is much harder to do than one might suppose.

Who among us has not gazed thoughtfully and patiently at a painting of Jackson Pollock and thought "What a piece of crap?

Who's going to ask a painter to see a diploma? They'd say, 'Can I see your paintings?', wouldn't they?

Wit has as few true judges as painting.

When you look at a work of art, you don't see a cover for something else; you see revelation. If you're an artist, art is the truest expression of yourself. Even if you're painting a life you don't have.

Within the category of Kitsch we can thus distinguish between more and less successful paintings. Kitsch, too has its masterpieces.

Within one hour of touching the brush to canvas for the first time, my students have a total, complete painting.

Without good drawing, the foundation of a painting will collapse.

Without intent all painting is meaningless.

Wrestling needs to be about the art form again. It needs to be about painting a picture and having a really good match.

You are never tired of painting, because you have to set down not what you know already, but what you have just discovered.

You can always tell a great painting, because when you get close there are all these nervous marks.

Writing must certainly be one of the hardest professions - writing and painting.

You can eliminate color and still have a painting that works, but you must have drawing, value and design.

You can't make either life or art, you have to work in the hole in between, which is undefined. That's what makes the adventure of painting.

You can't sweeten the well by painting the pump.

You come back to the beginning. That's why in the "Searching for the Ox" sequence, at the very end of that sequence of the Zen paintings, we're back in the world again.

You don't need a framework. You need a painting, not a frame.

You don't talk about paintings, you look at them.

You have to act and this is something that happened in abstract expressionism too, it was a discovery particularly in De Kooning's paintings, great paintings. There's a lot of speed in his work and the speed produces things that only speed can produce.

You have to live in a state of thinking your painting is good, or you couldn't do it.

You know I was curious - I was interested in all kinds of mystery or deeper meanings in the paintings because I myself have not analyzed why they have turned out like this or like that.

You must break all the rules of painting, but you must also convince me you've had a reason to do so.

You're going to react to a painting in a way that the painting demands you react.

Above all, he encourages her to paint, nodding with approval at even her most unusual experiments with color, light, rough brushwork [...]. She explains to him that she believes painting should reflect nature and life [...]. He nods, although he adds cautiously that he wouldn't want her to know too much about life - nature is a fine subject, but life is grimmer than she can understand. He thinks it is good for her to have something satisfying to do at home; he loves art himself; he sees her gift and wants her to be happy. He knows the charming Morisots. He has met the Manets, and always remarks that they are a good family, despite Édouard's reputation and his immoral experiments (he paints loose women), which make him perhaps too modern - a shame, given his obvious talent. In fact, Yves takes her to many galleries. They attend the Salon every year, with nearly a million other people, and listen to the gossip about favorite canvases and those critics disdain. Occasionally they stroll in the museums in the Louvre, where she sees art students copying paintings and sculpture, even an unchaperoned woman here and there (surely Americans). She can't quite bring herself to admire nudes in his presence, certainly not the heroic males; she knows she will never paint from a nude model herself. Her own formal training was in the private studios of an academican, copying from plaster casts with her mother present, before she married.

A force de peindre la vie des autres, il avait oublié de peindre la sienne." On ne se tue pas pour une femme (2000)

After I see a painting, I go into a room, I close my eyes and I slowly escape into the beauty of the painting. I reflect on the painting, the nuances of the artwork, it's theme, mood and highlights -until the magic of the painting flashes before me.

Age in itself gives substance — what has lasted becomes a thing worth keeping. An older poem's increasing strangeness of language is part of its beauty, in the same way that the cracks and darkening of an old painting become part of its luminosity in the viewer’s mind.

A hand moved gracefully over the canvas, releasing the first colorful dot onto a sea of white. Her mind traveled to a different realm, and she joined in spirit with every human being whomever dared to take that first stroke, and she knew the risks; she was willing to pay the price, because wasn’t that what the heart longed for? Whether it be by writing, painting, or music—one only needs to find the strength of courage to walk along the creative path, to search for one’s higher self, and maybe, for just a moment, to gaze into the eyes of God." ― AnneMarie Dapp, Autumn Lady

All great art is praise.

All the aesthetic anarchy of our day is caused by more international artillery than by international paintings.

All the same, I'm sure that if one is brave then recovery comes from within, through complete acceptance of suffering and death, and through the surrender of one's will and love of self. But that's no good to me, I like to paint, to see people and things and everything that makes our life—artificial, if you like. Yes, real life would be something else, but I don't think I belong to that category of souls who are ready to live, and also ready to suffer, at any moment.

Alma is in a painting phase, and the people she paints are all the color of mold, look like they've just been dredged from the bottom of a lake. Her last painting was of you, slouching against the front door: only your frowning I-had-a-lousy-Third-World-childhood-and-all-I-got-was-this-attitude eyes recognizable.

And if what they say is true--if every great painting is really a self-portrait--what, if anything, is Fabritius saying about himself?

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.

And I see that his brown eye has a splash of green in it and the green one a splash of brown. Like Cezanne painted them. Impressionist eyes.

Wine pricing is an art - like painting.

You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.

You have the 20th century wrapping up and everything is moving at this breakneck speed? And then, painting is still walking. It's just a very human activity that takes time.

You just pray that something is going to hit you like lightning. Like a movie, a book, or a photograph, a painting, something that you can riff on it and learn more about it and explore it, and just go on a journey with it. So lots of times when I choose a theme, I'll also incorporate other things that I'm doing at that period.

You know how fussy and particular I am in painting. I am ever removing the paint and repainting the spot until I am completely exhausted.

You must hold on to the sort of finger-painting aspect of music. That's something I learned, particularly from listening to Neil Young. Tom Waits is another one, because Tom's music is incredibly sophisticated and beautifully arranged, but he's using a toolbox that's unlike anybody else's.

You're trying to make your painting too complicated. Paintings get complicated all by themselves.

You want every movie to be a hit. But every painting isn’t a masterpiece.