Best 1313 quotes in «painting quotes» category

I'm doing quite a lot of painting on stones - little funny fish and animals.

I'm inspired by a lot of stuff. I always was interested in sculpture and painting and music and literature and all those things. There's no one thing.

I'm interested in how we define things by how we choose to observe them, and how everywhere in our lives, and in every moment we experience, there are forces at work that we don't fully understand. Couple this curiosity with a love of portraiture painting, and that's how this project was born.

I'm interested in the movement of the eyes across the painting.

I'm interested in that way we perceive things, and that was part of what I was getting into in painting - the idea of perception and how information goes through our heads and it comes out another way.

I'm irresponsible to my career in order to paint. Because painting is obsessive. I forget to eat. I forget to sleep.

I'm just a landscape painter. I look out the window and I see what's going on, and I paint it. While I'm painting it, I also write thoughts about what I see going on out there.

I'm never finished with my paintings; the further I get, the more I seek the impossible and the more powerless I feel.

I'm much more of a minimalist. My mom was Russian, so she loved lots of jewelry and opulence and tons of paintings on the wall and lots of clothes. I'll buy one thing that I love a season and wear it all the time.

I'm not interested in painting; I'm not interested in making a picture. Then what the hell am I interested in? I must be interested in this process.

I'm not just painting for painting's sake. I want to be truthful.

I'm not painting myself as a down-home, modest guy.

I'm not one of those artists having people there lying around on their paintings, you know, like Hockney or whoever.

Impressionism; it is the birth of Light in painting.

I'm the expert when it comes to my paintings. I think all great painters have to have that confidence in what they are seeking and when they're getting there.

I'm working hard with more determination than ever. My success at the Salon led to my selling several paintings and since your absence I have made 800 francs; I hope, when I have contracts with more dealers, it will be better still.

I must have the personal dialogue, the private time, with each painting in progress. I can't share it with anyone until it's done.

I'm trying to make a primitive painting. I'm trying to summon the archaic. I want to enter into a primitive situation. This is my protest against the sensory deprivation that we experience, which is due to this tendency towards globalization, towards homogenization, towards the generic - a technological standard rather than an aesthetic standard. I'm mining history, trying to regenerate a pictorial situation that is more humanistic. It's not about commodification, it's not about fitting into some sort of corporate structure. It's opposed to that direction.

I'm very interested to see how this new painting will go - I know I want it big and stark, and as I said, I follow the muse, and that's when it always works perfectly for me.

I'm very representational some of the time, and a little all of the time. But when you're painting out of your unconscious, figures are bound to emerge.

In a successful painting everything is integral - all the parts belong to the whole. If you remove an aspect or element you are removing its wholeness.

In a painting, what counts is the unexpected.

I needed an outlet in high school and came across painting. I've actually been painting longer than I've been acting. A movie is a collaborative effort, and with painting you just have yourself.

In classical oil painting, there seemed to be a radical turn to seeing things as the camera sees them, with that technological modification. I began to have a tremendous problem with all of this.

In my opinion painting should be considered excellent in proportion as it approaches the effect of relief, while relief should be considered bad in proportion as it approaches the effect of painting.

I never wanted to be a filmmaker. I still, sometimes, think I got sidetracked by this, like this is a tangent. My main thing was painting; I was just going to do that.

In every respect, fantasy is like doing abstract paintings.

In general, my paintings are multifocal. You can't call it unfocused space, but not being fixed to a single focus is very much of our time.

In large studio paintings... composition, or arrangement, may be better studied, and nearer perfection, washes may be more suavely graded.

In mathematics the complicated things are reduced to simple things. So it is in painting.

In my earlier paintings, I wanted the space between the picture plane and the spectator to be active.

In every form of art, you really want the experience of the images to transcend the medium, for the medium to disappear into the greater experience of viewing the work. So that you forget you are looking at a painting, or a photograph.

In most natural scenes there is a prevailing colour, which the landscape painter must learn to identify, and which must prevail also in a slightly exaggerated form, in his painting, for the sake of truth, harmony and unity.

I noticed that the large windows between the paintings [in the Musee d'Art Moderne] interested me more than the art exhibited. From then on, painting as I had known it was finished for me.

In painting, as in the other arts, there's not a single process, no matter how insignificant, which can be reasonably made into a formula. You come to nature with your theories, and she knocks them all flat.

In painting as in eloquence, the greater your strength, the quieter your manner.

In painting, detail for the sake of itself is useless. It must have relevance to the whole.

In painting one must search rather for suggestion than for description, as is done in music.

In painting, the key is not taking myself seriously to the point where it kills sincerity.

In painting you cover up your sins and everyone thinks you're naturally talented.

I paint my own reality.

I paint as I feel like painting; to hell with all their studies.

I painted myself out of my painting.

In the back of every painting there's an entire universe that makes it possible for the painting to be there: an army of conservators, technicians, people who maintain these things, the market.

In the end, the gesture of painting becomes almost meditative, like a ritual.

In the middle 1940s... I heard everyone live. Painting, the theater; everything was happening. It was an exciting time when New York was the place to be.

In the sphere of natural investigation, as in poetry and painting, the delineation of that which appeals most strongly to the imagination, derives its collective interest from the vivid truthfulness with which the individual features are portrayed.

In Zen brush-painting, the circle is a master's problem. It represents everything and nothing, and in so doing, the universe.

I paint for myself. I don't know how to do anything else, anyway. Also I have to earn my living, and occupy myself.

I paint to evoke a changing language of symbols, a language with which to remark upon the qualities of our mysterious capacities which direct us towards the ultimate reality.