Best 1313 quotes in «painting quotes» category

Making a record is like painting a school bus with a toothbrush

Making a painting is like playing the saxophone. You hit the note and it comes out.

Mark Grotjahn's large new paintings abound with torrents of ropy impasto, laid down in thickets, cascading waves, and bundles that swell, braid around, or overlap one another.

Mathematics is an activity governed by the same rules imposed upon the symphonies of Beethoven, the paintings of DaVinci, and the poetry of Homer.

Maybe in that earlier phase I was painting the woman in me. Art isn't a wholly masculine occupation, you know.

Maybe the given person, cup, or landscape is lost before one gets to painting. A figure exerts a continuing and unspecified influence on a painting as the canvas develops. The represented forms are loaded with psychological feeling. It can't ever just be painting.

More important than a work of art itself is what it will sow. Art can die, a painting can disappear. What counts is the seed.

Monet's work would have been even greater if he had not abandoned figure-painting.

Most days, I practice piano in the mornings and I spend the rest of the day painting.

More than a process, painting is being possessed.

My aim in painting has always been the most exact transcription possible of my most intimate impression of nature.

Most of the power of painting comes through the manipulation of space... but I don't understand that.

Most painting in the European tradition was painting the mask. Modern art rejected all that. Our subject matter was the person behind the mask.

Music is a lot more like solving an intricate puzzle with moments of pure, random creative bliss... whereas painting is much more purely random creative bliss with moments of problem solving.

My art tends toward the literary. My pictures tend toward the outskirts of painting: But why generalize? It is possible to realize one thing or another, according to the impressions gained from one point of view or another. But it is too difficult to make a general rule.

My aim in painting is to create pulsating, luminous, and open surfaces that emanate a mystic light, in accordance with my deepest insight into the experience of life and nature.

My early paintings weren't that good - I was very influenced by Francis Bacon. But there was a kind of intensity there. And however influenced they may have been by other people, even my earliest paintings were recognisably my own.

My career doesn't depend on painting Bill Clinton.

My cubist paintings are my most Mexican.

My life is a creative act--like a painting, or a concerto.This is quotes copyright © By Pumpkin Limited

[My father] did every kind of work imaginable from painting to shoveling to herding cattle. And he's always been such an inspiration to me because of the very kinds of things that he did and the kind of life he lived.

My favourite painting is often the one or the collection that I am currently working on. This is probably due to the fact that I don't yet know where it will take me.

My hobbies are painting, crafts, and I like golfing.

My method is subtraction. I use erasers to make the images in my paintings. You really have to see it to fully get it, but it is basically erasing shapes from a background of paint.

My goal is to make all my paintings clear and realistic, even more understandable than a photograph.

My instinct about painting says, 'if you don't think about it, it's right.' As soon as you have to decide and choose, it's wrong. And the more you decide about, the more wrong it gets.

My interest in painting is recording things. I think of myself as almost a documentary filmmaker... I've gotten into some curious situations.

My paintings are wiser than I am.

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

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

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

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