Best 1313 quotes in «painting quotes» category

My movement from painting to film was a very conscious one.

My nervous system is very much weakened - nothing but painting in oil can keep me going.

My only worry is the painting I'm doing. Nothing else.

My paintings are not meant to be tasted.

My paintings are rubbish.

My paintings are titled after they are finished. I paint from remembered landscapes that I carry with me - and remembered feelings of them, which of course become transformed. I could certainly never mirror nature. I would more like to paint what it leaves with me.

My painting does not come from the easel.

My paintings cannot be a negation of what has always been and always will be necessary - drawing and search for values.

My paintings are reflections of my own inner mysteries... they all reflect my relationship to my steadiest of companions and muses - nature and animals.

My paintings are wiser than I am.

My paintings do not have a center, but depend on the same amount of interest throughout.

My paintings seem to make the strongest impression on people who are, well, who are crazy.

My painting occurs when I think of two disparate elements.

My paintings and comedy have a lot in common. They are both improvisations based on observation.

My paintings are so legible, I feel guilty.

My paintings don't simply represent what I see; they present viewers with what I want them to see.

My pictures had and have secret lives, and so there were things I did not tell, a lot of stuff I did not say back then which I'm saying now... I intend to continue allowing forms of secret life to paintings I'm working on right now because it excites me to do that.

My portraits are half what I see and the other half is invented or dictated by the person and the painting.

My problem painting from my life was I found that you can't paint dirt without romanticising it.

My skin is an art gallery right, with paintings and crucifixes hoping to save me from all the dangers in the music business

My skills are not of the highest caliber, but I know a thing or two, and I occasionally produce a painting that contains passages of truth and beauty.

My still-life painting has more to do with light and shadow than with the objects themselves.

My work has so much to do with reality that I wanted to have a corresponding rightness. That excludes painting in imitation.

My work since the late '80s specifically questioned what was presented as the "natural" order of things in the history of post war NY painting.

Never ruin a good painting with the truth.

One newspaper even published one of my nude paintings - the one of me naked from the waste up.

No one but myself knows the anxiety I go through and the trouble I give myself to finish paintings which do not satisfy me and seem to please so very few others.

Not even pencil or charcoal is needed. Drawing can also be done with a brush. But drawing is a must, if not, no painting can resist.

Not the victims of any specific ideology of the left or of the right, but of the ideological posture as such. This has to do with the everlasting human dilemma in general: to work for a revolution and fail.

Novels are like paintings, specifically watercolors. Every stroke you put down you have to go with. Of course you can rewrite, but the original strokes are still there in the texture of the thing.

Now I'm a painter. That was another opportunity I was able to pursue, I've been painting all my life, now it's become a second career because of my success in the movies.

Occasionally, when I get mad at a woman, I'll do some great, awful painting about her.

Oil-painting is a developed technique. Why go backwards?

On an instrument you start from one tone. In painting you start from several.

One can easily tell that the creator of the paintings in the Sistine Chapel was above all a sculptor

One ends up with a landscape one has never seen before but it is presumably the landscape you were feeling as you started the painting.

One learns about painting by looking at and imitating other painters.

One of Cezanne's unfinished paintings... appears to be a completed work even though only a few strokes of paint have been put down. My methods are similar... I expect each of my paintings to appear whole in every stage.

One of the interesting things I discovered is that in the late 19th century, painters actually had black-and-white copies made of their own paintings. They chose it even over photographs because they knew the photographic medium would distort their work.

One of the hardest things to do is to paint darkness which nonetheless has light in it.

One of the problems with technology is that no photograph, as superb and outstanding as it may be, will ever be as satisfying as the most middle-rate painting.

One picture in ten thousand, perhaps, ought to live in the applause of mankind, from generation to generation until the colors fade and blacken out of sight or the canvas rot entirely away.

Only talent interests me in paintings and books. Not general ideas, but the individual contribution.

Only when he no longer knows what he is doing does the painter do good things.

Only when painting isn't painting can there be an affront to modesty.

On painting and fighting looke aloofe. [On painting and fighting look aloof.]

Ninety per cent of the theory of Impressionist painting is in . . . Ruskin's Elements.

No matter what medium I'm using, or what subject I'm painting, I do retain a fairly set approach to painting.

Not everything in life can or should be explained. Part of every painting should be incomplete...to be completed in the mind of the viewer.

Nothing is so improving to the temper as the study of the beauties either of poetry, eloquence, music, or painting.