Best 1313 quotes in «painting quotes» category

I go out each morning and draw. I can't really start a painting in the morning until I've done a drawing.

I had a visit from an artist friend who basically said, "Your paintings are wonderful. Now stop." It did resonate with me. It hit on the percolating need for change that was already there. I got a little push. I did a group of the paintings early on that were among the best. It was sort of beginner's luck with these.

I had gone to Paris to immerse myself in painting and I came back wholly involved in words and rhythms.

I had some money, I made the best paintings ever. I was completely reclusive, worked a lot, took a lot of drugs. I was awful to people.

I had the desire to paint the figure without actually painting the figure.

I hardly ever stretch the canvas before painting.

I hate darkness. Claude Monet once said that painting in general did not have light enough in it. I agree with him. We painters, however, can never reproduce sunlight as it really is. I can only approach the truth of it.

I have always enjoyed drawing and painting but I don't always find the time to do much these days.

I have an idea of a set of colors and see what I have. A lot of things, the best, more magical things in the paintings just sort of happen. They aren't things I thought of in advance. They are more things I am given. What paint does, in watercolor more than oil but it happens in oil too, are things one never expects if you work freely. I suppose I learned a lot coming to this after years of playing improvisational music. I have to trust my intuition and I work in the moment, when that moment seems to be happening. And to leave it alone when it is not.

I have a painting where somebody's holding a chicken, and underneath the chicken is somebody's head.

I have, and do sometimes, work with other media. But there is something about the physical activity and the directness of painting that I find fascinating. I am very attracted to the materiality of paintings and the visual phenomena of hue and value.

I have been continuously aware that in painting, I am always dealing with... a relational structure. Which in turn makes permission 'to be abstract' no problem at all.

I have friends come over and we read plays out loud and I make paintings and I just do things all the time just so I don't ever feel like I'm sitting around.

I have found in my still-life work that I seem to be able to tell what objects are important to me by what tends to stay in the painting as it develops.

I have never seen either angels or goddesses, so I am not interested in painting them.

I have heard of your paintings too, well enough; God has given you one face, and you make yourselves another.

I have no education, I have no academic background in painting or in music, but I write music and I compose music and I write and I sell paintings, and my rule is, well, they can't arrest me.

I have no fear of making changes, destroying the image, etc., because the painting has a life of its own.

I haven't many years left ahead of me and I must devote all my time to painting, in the hope of achieving something worthwhile in the end, something if possible that will satisfy me.

I have not collected art. Art collected me. I never found paintings. They found me. I have never even owned a work of art. They owned me.

I haven't stopped painting or drawing - I've just added another medium.

I have often seen quite demented patients recognize and respond vividly to paintings and delight in the act of painting at a time when they are scarcely responsive, disoriented, and out of it.

I have tried to draw the human effigy (and all the other subjects dealt with in my paintings) in an immediate and effective way without any reference to the aesthetic.

I have to make what I see, whether it's a painting, a table, or a movie, or it's like a death and what would be the point of that?

I inherited a painting and a violin which turned out to be a Rembrandt and a Stradivarius. Unfortunately, Rembrandt made lousy violins and Stradivarius was a terrible painter.

I hope to actually get back to painting someday... soon. I sort of transitioned into cartooning from painting.

I initially felt shy about doing painting because I wasn't a professional painter. I almost felt like I didn't deserve to paint. But I have gradually adopted a different kind of attitude about this.

I just keep painting till I feel like pinching. Then I know it's right.

I know how pathetically inadequate my medium [painting] is, but unfortunately I dispose of no other.

I kept.. ..returning to the (ancient Roman) wall paintings with their veiled melancholy and elegant plasticity.

I just realized that I never look at a painting and ask, 'Is this painting fictional or non-fictional?' It’s just a painting.

I keep plastering it until it comes around to what I want, in terms of all I know and think about painting now, as well as in terms of the initial observation.

I know for sure that I have an instinct for color, and that it will come to me more and more, that painting is in the very marrow of my bones.

I know well enough in advance that you'll find my paintings perfect. I know that if they are exhibited they'll be a great success, but I couldn't be more indifferent to it since I know they are bad, I'm certain of it.

I liked painting, very early on, even more than drawing. I used poster paint on posterboard. I would copy images that I liked from magazines and books and combine them to make a "collage" kind of painting. In some ways, this is similar to how I work today.

I liked sculpting better than painting. You have more freedom in sculpting.

I like eating out. I like buying beautiful paintings and being surrounded by beautiful things. I have to finance that life. I can barely afford a pension scheme because I don't make enough money.

I like everything that has no style: dictionaries, photographs, nature, myself and my paintings. (Because style is violent, and I am not violent.)

I like the idea of the painting looking at the viewer than the other way around.

I like setting up problems for the viewer, like how do you visually deal with a ring when what’s usually in the center of a painting is very important? It's like the main course isn't there and you're having to deal with everything around what would normally be the main course.

I like something about George W. Bush. A lot. After spending more than a decade having almost physiological-chemical reactions anytime I saw him, getting the heebie-jeebies whenever he spoke - after being sure from the start that he was a Gremlin on the wing of America - I really like the paintings of George W. Bush.

I like the transience of Klimt paintings.

I like to feel like you can bite my paintings. Not to eat them, to hurt them. I like to feel like I'm painting with my teeth.

I like to paint paintings that I haven't seen.

I like to draw, produce paintings, do something with my fingers - but I am very normal, down-to-earth person.

I like to play with the conventions around what we expect of paintings historically. But I also like to play with the conventions that you expect from a Kehinde Wiley painting, too.

I'll bet there are a lot of artists that nobody hears about who just make more money than anybody. The people that do all the sculptures and paintings for big building construction. We never hear about them, but they make more money than anybody.

I like using concrete imagery, but I don't feel that's what it's about. It's a combination of concrete and abstract to take the listener somewhere they know better than you. That's true for music, seeing a painting, watching a movie... it's all some kind of an escape.

I'll get an inspiration and start painting; then I'll forget everything, everything except how things used to be and how to paint it so people will know how we used to live.

I love art. I used to have a painting of Mikhail Gorbachev that was given to my family by Gorbachev.