Best 1313 quotes in «painting quotes» category

I love the trick of painting. You can have the movement within the still thing, but it is completely fixed. And that illusion is constantly exciting.

I love variation in all forms: in painting, in music.

I love to paint. It's more of a hobby, but people love the paintings so much that I end up selling whatever I paint.

I'm 38 years old and Limp Bizkit is just something I do. If I was a painter, it would just be a type of painting I make.

I make sure I make a painting - that's my job. And I cook the Sunday dinner.

I make no distinction between poetry and painting.

I'm an odd portrait painter in that I'm not just interested in human faces. I consider almost all of my paintings to be portraits.

I'm a painter, that's where I started out, at four years old, that was my first love as far as expression. So, I'm not a painter in the sense of, "Please come see my paintings" but, I do understand the value of not looking over the artist's shoulder while the work is in progress.

I'm a storyteller. I love to tell stories about brands. I love to tell stories, period. I like painting pictures through the words, and that's what I do.

I'm a tireless worker; I don't consider painting a work, it is not an obligation, I do it for pleasure; I haven't found anything that amuses me more than painting.

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

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 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.

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.

Impressionism; it is the birth of Light in painting.

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 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 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.

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 a painting, what counts is the unexpected.

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 every respect, fantasy is like doing abstract paintings.

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.

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.

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

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

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.

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

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

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.