Best 1313 quotes in «painting quotes» category

I prefer you to take as your model a mediocre sculpture rather than an excellent painting, for from painted objects we train our hand only to make a likeness, whereas from sculptures we learn to represent both likeness and correct incidence of light.

I quit painting very early. I just jumped ship. In a way, the window is the tragic possibility - you can jump out into your future. That kind of action is more like a direction. It's that same thinking that brought me to New York.

I rage against Vincent van Gogh for needing to die at 37, after painting for only ten years.

I realized painting could look like a film, and a film like a painting.

I realize that protest paintings are not exactly in vogue, but I've done many.

I really prize and love great painting. It's so out of date now. It's slightly come back in.

I see my studio like a laboratory, where I work like an investigator - it's almost forensic. I love the discovery process in painting.

I see no thread running through my work; I simply get on with my life and my painting.

I seldom have my stuff up unless I'm testing it. If I'm worrying about a painting, I put it up and see if I detest it quickly or slowly. Otherwise I have things by other artists.

I should also mention that the Neue Galerie is piping music into the galleries where "Klee and America" is hanging, a practice for which vulgar is not even close to the word. Yes, I like Schumann's Carnaval, but I'm damned if I know why anybody thinks the paintings of Paul Klee profit from being viewed with Carnaval playing in the background.

I should like to paint like an man who has never seen a painting, but this man -myself - lives in a museum.

I sort of feel that the role of a portrait in society is to represent the sitters, we see paintings of Shakespeare and we believe that it is what he looked like, well maybe a little older, fatter and with a higher hairline. I guess it would be cool if the portraits that were painted really did look like the sitter or expressed some sort of emotion that gave the viewers in the future a sense of the sitter's pathos at the time it was painted.

I sometimes use a lot of light greens and greys when I feel there is sadness in the painting.

I started with straight, basic, symbolic structures. My problem now is the opposite; as I get older, I try to make my paintings more contrapuntal, richer.

I stopped painting in 1990 at the peak of my success just to deny people my beautiful paintings. And I did it out of spite.

I still have a lot of pleasure doing them, but as time goes by I come to appreciate more clearly which paintings are good and which should be discarded.

I studied shades, textures by painting after the Old Masters, the classical European paintings, as part of my educational process.

I suggest that it is the honesty of the attempt to recreate the forms and spaces visually without artistic editing that is one of the hallmarks of realist painting.

I stopped painting, not because I didn't like painting; the sensuality of it was fun. But I wasn't able to get to the point I wanted to.

I suppose what you're doing as a painter is making a record of your trip through life. I can't think of any job that is quite as satisfactory as doing a painting.

I think half the point of painting a picture is that you don't know what will happen... that if painters did know what was going to happen they wouldn't bother to do it.

I switched to painting with my left hand to be in better company.

It has been difficult to hold onto many paintings but I have retained a few.

I think humor really is the most effective way for me personally to express myself. When I see an incredible formalist painting, I respect it. I really do. I see its history and I get it. But when I pass something weird or something funny, I totally associate with it. I find myself thinking about it later that day. That's how I know something is thought provoking. That's how I know something is effective.

I think, if one is a painter, all you experience does come out when you’re painting.

I think of painting without subject matter as music without words.

I think of [my photographs] as found paintings because I don't crop them, I don't manipulate them or anything. So they're like found objects to me.

I think only of my painting, and if I were to drop it, I think I'd go crazy.

I think not knowing what to think of your paintings is a good place to be.

I think painting has that unique potential to project opposing viewpoints.

I think people have to choose between living with contradictions or painting themselves into a corner. I have a lot of contradictions.

I think that painting is a very ancient form of expression.

I think we all ought to be careful about too much generalization on this issue, even as I confess to painting with a pretty broad brush myself!

I think that the mythology of Van Gogh's life, and the beauty of his paintings, is unstoppable.

I think the word "intelligent" dictates a lot about someone's sense of humor, and the terms of reference in your life, the way you interpret something you read or a painting you look at or something.

I think we all go through times in our lives when we decide, "I'm going to try something else." I tried filmmaking instead of painting, and I think I enjoyed it more. So I don't paint anymore.

I think we seem to remember things in still pictures. I never gave up on painting. When they said painting was dead, I just thought, Well, that's all about photography, and photography's not that interesting, and it's changing anyway.

I thought I was painting in sound a picture of revolution - but I made a mistake, you know. The mistake was that it was anti-revolution.

It is an intimately communicative affair between the painter and his painting, a conversation back and forth, the painting telling the painter even as it receives its shape and form.

It is not hard to understand modern art. If it hangs on a wall it's a painting, and if you can walk around it it's a sculpture.

It is easy to have a lot of paintings or projects hanging around that are 'almost done.

It is far easier to debate about realistic painting than to paint one.

It is not right for painters to think that painting is like prostitution, that 'first you do it for love, then you do it for others, and finally you do it for money.

It is true that the Drive-By Media is not spending a lot of time covering the Donald Trump Middle East trip. The reason is, they don't want to write or televise any of this because it's in such stark contrast to the pictures they've been painting of Trump. It's so incongruent. It's so inconsistent. In addition to all else, it is the protection of the Barack Obama legacy.

It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.

It is simply impossible to control a large painting with the edge in the same way that you can control a small one.

It is the painting that makes me so happy these days.

It is well for young men to have a model, but let them draw the curtain over it while they are painting.

I trust the symbol that is arrived at in the making of the painting. Meaningful symbols aren't invented as such, they are made or discovered as symbol later.

I transformed myself in the zero of form and emerged from nothing to creation, that is, to Suprematism, to the new realism in painting - to non-objective creation.