Best 1313 quotes in «painting quotes» category

If a painting really works down in your heart and changes the way you see and think and feel, you don't think, 'oh I love this painting because it's universal' 'I love this painting because it speaks to mankind'. That's not the reason anyone loves a piece of art. It's a secret whisper from an alleyway. Psst, you. Hey kid. Yes, you. An individual heart shock. . . .A really great painting is fluid enought to work its way into the mind and heart through all different angles, in ways that are unique and very particular.

If I didn't start painting, I would have raised chickens.

If life can be a work of art, then what are the works of art?

I force myself to get up and lock my eyes on the painting, my birthday gift. It’s the essence of everything I want to remember about us. I pick it up and imagine the stars shimmering over us and the brisk air on our skin. The way the cold dissipated when we touched and nothing else mattered, how perfect it was.

If we do everything that’s comfortable, then what we come up with is just kind of a boring, comfortable result.

If you can’t paint a man falling from a five story building before he hits the ground, you will never make a monumental painting.

If you have walked into a museum recently - whether you did so to attend an art exhibition or to escape from the police - you may have noticed a type of painting known as a triptych. A triptych has three panels, with something different painted on each of the panels. For instance, my friend Professor Reed made a triptych for me, and he painted fire on one panel, a typewriter on another, and the face of a beautiful, intelligent woman on the third. The triptych is entitled What Happened to Beatrice and I cannot look upon it without weeping. I am a writer, and not a painter, but if I were to try and paint a triptych entitled The Baudelaire Orphans' Miserable Experiences at Prufrock Prep, I would paint Mr. Remora on one panel, Mrs. Brass on another, and a box of staples on the third, and the results would make me so sad that between the Beatrice triptych and the Baudelaire triptych I would scarcely stop weeping all da

If you construct a room in paint, you haunt it. Your life rests in every stroke. So paint only the rooms that you can bear to occupy forever. Or paint the stars instead.

If you feel joy when you do something unselfish for him, and would just as soon do it in secret as openly, then that rings of the true metal

I look up at the painting. It's not even that interesting. Definitely doesn't grab me and shake my brain around like the meadow scene did.

I have tried to express the idea that the café is a place where one can ruin oneself, go mad, or commit a crime.

I intend to destroy, destroy everything that exists in painting. I have utter contempt for painting.

I lacked the knowledge of linear perspective needed to get into the art school, so now I whitewash walls and imagine I’m heaven’s landscape painter.

I look for ambiguity because life is ambiguous!

I love to draw—pencil, ink pen—I love art. When I go on tour and visit museums in Holland, Germany or England—you know those huge paintings?—I’m just amazed. You don’t think a painter could do something like that. I can look at a piece of sculpture or a painting and totally lose myself in it.

If you’re to choose to paint your life today... What will it be? Remember, you’re the artist, not the canvas.

I had only to open my bedroom window, and blue air, love, and flowers entered with her”.

I have been in love with painting ever since I became conscious of it at the age of six. I drew some pictures I thought fairly good when I was fifty, but really nothing I did before the age of seventy was of any value at all. At seventy-three I have at last caught every aspect of nature–birds, fish, animals, insects, trees, grasses, all. When I am eighty I shall have developed still further and I will really master the secrets of art at ninety. When I reach a hundred my work will be truly sublime and my final goal will be attained around the age of one hundred and ten, when every line and dot I draw will be imbued with life. - from Hokusai’s ‘The Art Crazy Old Man

I hear the question upon your lips: What is it to be a colour? Colour is the touch of the eye, music to the deaf, a word out of the darkness. Because I’ve listened to souls whispering – like the susurrus of the wind – from book to book and object to object for tens or thousands of years, allow me to say that my touch resembles the touch of angels. Part of me, the serious half, calls out to your vision while the mirthful half sours through the air with your glances. I’m so fortunate to be red! I’m fiery. I’m strong. I know men take notice of me and that I cannot be resisted. I do not conceal myself: For me, delicacy manifests itself neither in weakness nor in subtlety, but through determination and will. So, I draw attention to myself. I’m not afraid of other colours, shadows, crowds or even of loneliness. How wonderful it is to cover a surface that awaits me with my own victorious being! Wherever I’m spread, I see eyes shine, passions increase, eyebrows rise and heartbeats quicken. Behold how wonderful it is to live! Behold how wonderful to see. I am everywhere. Life begins with and returns to me. Have faith in what I tell you.

I'm painting color squares. One square - one color. That's what I paint.

In 1946 there was no money in art, no dealer galleries, no craft shops. After the war we started to teach art in every school for the first time. Our generation played a crucial role. We were the stepping stones towards today's galleries.

Impression — I was certain of it. I was just telling myself that, since I was impressed, there had to be some impression in it … and what freedom, what ease of workmanship! Wallpaper in its embryonic state is more finished than that seascape.

In every motions to put colors on my canvas, I feel like I am screaming, "I AM HERE"... To whom?.. To where?... Where am I going to...?

in case we ever lose each other always remember this our sign and i will find you again as i go to find my brother' the painter promises

Ingenting er mer krevende og angstfremkallende enn et nytt, fullstendig hvitt lerret. Hvordan du enn begynner, så føles det som om du ødelegger alt.

In her book The Writing Life (1989), Annie Dillard tells the story of a fellow writer who was asked by a student, "Do you think I could be a writer?" "'Well,' the writer said, 'do you like sentences?'" The student is surprised by the question, but Dillard knows exactly what was meant. He was being told, she explains, that "if he likes sentences he could begin," and she remembers a similar conversation with a painter friend. "I asked him how he came to be a painter. He said, 'I like the smell of paint.'" The point, made implicitly (Dillard does not belabour it), is that you don't begin with a grand conception, either of the great American novel or masterpiece that will hang in the Louvre. You begin with a feel for the nitty-gritty material of the medium, paint in one case, sentences in the other.

In my heaven sweet melodies of the skies ripple pool of the sea playing sweet song to me, sharing tales of the past, blending with mine as mirage, painting new...I breathe in, am in love and alive...

in the corner of the painting of success the signature is blurred

In painting, three things must be considered - the position of the viewer, the position of the object viewed, and the position of the light that illuminates the object.

Inspiration surrounds us, the creation is our responsibility as artists.-Lyn Crain

In time, all great masterpieces turn into shameless creatures who laugh at their creators.

i painted it because i dreamed it because we all dreamed it

I paint the way some people write their autobiography. The paintings, finished or not, are the pages of my journal, and as such they are valid. The future will choose the pages it prefers. It's not up to me to make the choice. I have the impression that the time is speading on past me more and more rapidly. I'm like a river that rolls on, dragging with it the trees that grow too close to its banks or dead calves one might have thrown into it or any kind of microbes that develop in it. I carry all that along with me and go on. It's the movement of painting that interests me, the dramatic movement from one effort to the next, even if those efforts are perhaps not pushed to their ultimate end. In some of my paintings I can say with certainty that the effort has been brought to its full weight and its conclusion, because there I have been able to stop the flow of time around me. I have less and less time, and yet I have more and more to say, and what I have to say is,increasingly, something about what goes on in the movement of my thought. I've reached the moment, you see, when the movement of my thought interests me more than the thought itself.

I prefer painting people’s eyes to cathedrals, for there is something in the eyes that is not in the cathedral, however solemn and imposing the latter may be — a human soul, be it that of a poor beggar or of a street walker, is more interesting to me.

'Paint only what you see,' his hero Millet had admonished. 'Imagination is a burden to a painter,' Auguste Renoir had told him. 'Painters are craftsmen, not storytellers. Paint what you see.' Ah, but what they hadn't said, hadn't warned him about, was how much you could see.

I paint what I see and not what others like to see.

I placed the tubes of paint on the palette and selected a small canvas. I prepared the palette with an assortment of colors, then closed my eyes, remembering the way the moors had looked when I rode into town with Lord Livingston. He'd been so different on that drive into the village before he left for London. Had that been the side of him that Lady Anna had fallen in love with? I dipped my brush into the black paint and then mixed in some white until I'd created the right shade of gray, then touched the brush to the canvas. I loved the feeling of the paintbrush in my hand. He'd been kind to buy me the art supplies, but I remembered how he'd behaved in the dining room and at other times before that. 'How could he be so cruel, so unfeeling?' Once I'd painted the clouds, I moved on to the hills, mixing a sage green color for the grass and then dotting the foreground with a bit of lavender to simulate the heather. I stepped back from the canvas and frowned. It needed something else. But what? I looked out the window to the orchard. The Middlebury Pink. 'Who took the page from Lady Anna's book? Lord Livingston?' I dabbed my brush into the brown paint and created the structure of the tree. Next I dotted the branches with its heart-shaped leaves and large, white, saucer-size blossoms with pink tips.

I say that good painters imitated nature; but that bad ones vomited it.

I sat back and looked at it. It was ugly, dark, uncontrolled. Like a monster's face. Or maybe what I saw there was my own face. I couldn't quite tell. Was the face the image of something evil or the image of myself? "Both," Bea muttered, as if I'd spoken my question out loud. "Of course, it's both. But it shouldn't be. Goodness, no.

I see it, Jack. Your muse is back. The thing that gave you passion, tormented you, and haunted you is back. You're reeling in ecstasy and dread. It's something you want, but can't ever have. And the one that brings the pain is pure, white as snow... and standing in front of you.

I saw all my colors, I realized that painting has the same power as music.

I studied the way the individual flowers clustered around the single stalk, their sharp points fitting together like pieces of a puzzle. Something about the configuration of the petals made me believe that forgiveness should come naturally, but in this family, it hadn't. I thought about the decades of misunderstandings, from the yellow rose to the fire, the thwarted attempts at forgiving and being forgiven.

… I studied the painting that hangs over the small fireplace. Immerse myself in art, I told myself. Immerse myself in the conversation of those strollers, people who seem to move about more comfortably in their early-evening twilight than I do, people of maybe sixty years ago.

It has been my personal experience that as I allow the painting to speak I become lost, it is delicious and at the same time frightening. The best ones, to me, have a life of their own.

It has occurred to me that when one is raised in the absence of culture – without access to galleries and museums – one has to fill the void. I turned to books, album covers, magazines, slides and prints – anything visually stimulating that I could lay my hands on.

It is really surprising what may be done in the home with a small can of paint, if you aren't careful.

It is important that the image of her beauty sums up in man the richness of life, love, respect for the colors of the world created by God, thought of depth and faith. It does not matter who the painter is.

It is not your paintings I like, it is your painting.

It makes no sense to expect or claim to 'make the invisible visible', or the unknown known, or the unthinkable thinkable. We can draw conclusions about the invisible; we can postulate its existence with relative certainty. But all we can represent is an analogy, which stands for the invisible but is not it.

I touched the frame of the painting. And then I placed my whole palm on the dry, rumbling surface of the canvas, simply to prove to myself that there was no god stalking my soul. Time was not immemorial. Things were just things.