Best 1313 quotes in «painting quotes» category

As a teenager I started painting and playing guitar.

A sculpture is just a painting cut out and stood up somewhere.

A seventeenth-century painting can be "modern" because the living eye finds it fresh and new. A "modern" painting can be outdated because it was a product of the moment and not of time.

As far as I was concerned, with the early paintings, I liked them, I thought they were pretty good, but I didn't think it was the end of the world. I also thought of it as a kind of structure, a base to build on. So this proves I can do this and that, and they don't collapse, so then what can I do from here? How can I build on it?

As for the subject matter in my painting.. ..it is very often an incidental thing in the background, elusive and unclear, that really stirred me.

As you work on something, whether it's a painting or a piece of music, it's going to evolve. A relationship is like that too.

At a time when painting itself often seems to be a threatened, even despised, form of artistic activity, Andrew Salgado emerges as a dazzlingly skillful advocate for the medium he has chosen to embrace.

At a lecture, a guy said to me, "You know, when I look at your work, I don't know what I'm looking at, but when I look at a Willem de Kooning painting, I know what that is." I said, "Well, the paintings I'm doing have a very legible sentence at the top of the canvas." At a lecture, a guy said to me, "You know, when I look at your work, I don't know what I'm looking at, but when I look at a de Kooning painting, I know what that is." I said, "Well, the paintings I'm doing have a very legible sentence at the top of the canvas.

Atmosphere in a painting is nine-tenths fear.

At the beginning of the 20th century, the ambition of the great painters was to make paintings that were like music, which was then considered as the noblest art.

At some point I realized that the text was the painting and that everything else was extraneous. The painting became the act of writing a text on a canvas, but in all my work, text turns into abstraction.

Beauty has became a pejorative word in art. It was not something one should aspire to, because it was pedestrian. Beautiful things became cheap and easy. If it's cheap and easy, then upper classes aren't going to aspire to it. So, they have to find something more esoteric. I wanted the paintings to be realistic enough that you would have the ability to forget that I'm showing them to you.

Before a painter puts a brush to his canvas, he sees his picture mentally.... If you think of yourself in terms of a painting, what do you see?... Is the picture one you think worth painting?... You create yourself in the image you hold in your mind.

Before I start painting I have a slightly ambiguous feeling: happiness is a special excitement because unhappiness is always possible a moment later.

Blest be the art that can immortalize,--the art that baffles time's tyrannic claim to quench it.

Bonnat tells me, 'Your painting isn't bad, it is chic, but even so it isn't bad, but your drawing is absolutely atrocious.' So I must gather my courage and start once again.

Bums are the well-to-do of this day. They didn't have as far to fall.

But, as sculpture and painting are gifts of God, what I insist on is, that both shall be used purely and lawfully, that gifts which the Lord has bestowed upon us, for His glory and our good, shall not be preposterously abused, nay, shall not be perverted to our destruction.

But I owe something to Vincent, and that is, in the consciousness of having been useful to him, the confirmation of my own original ideas about painting. And also, at difficult moments, the remembrance that one finds others unhappier than oneself.

Butte was once a grand city. To me, that city is like one big stage for Edward Hopper. You could put your camera anywhere, and you felt you were looking at his paintings.

But, after all, the aim of art is to create space - space that is not compromised by decoration or illustration, space within which the subjects of painting can live.

By merely increasing or decreasing the amount of contrast in any area we can move the observer through the painting.

By the unification of architecture, sculpture and painting a new plastic reality will be created.

Casting is sort of like looking at paintings. You don't know what you'll like, but you recognize it when you see it.

Cezanne, you see, is a sort of God of painting.

Characters I've played, they used to impact my paintings, like 80 percent of the time, and especially when I was doing an action film.

Children's finger-painting came under the arts, but movies didn't.

Choose only one master - Nature.

At the museum a troubled woman destroys a sand painting meticulously created over days by Tibetan monks. The monks are not disturbed. The work is a meditation. They simply begin again.

Color is a language. It is the language of painting. How painting expresses itself is in large part with color.

Collage-making, for me, is basically an act of painting, allowing me to indulge in an appetite for immediacy.

Color in painting lures the eyes as verses do in poetry.

Colors in painting are as allurements for persuading the eyes, as the sweetness of meter is in poetry.

Color is the essence of painting, which the subject always killed.

Destroying a tropical rainforest for profit is like burning all the paintings of the Louvre to cook dinner.

But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.

Critic asks: 'And what, sir, is the subject matter of that painting?' - 'The subject matter, my dear good fellow, is the light.

Decades ago, Gerhard Richter found a painterly philosopher's stone. Like Jackson Pollock before him, he discovered something that had been in painting all along, always overlooked or discounted.

Did you ever see that painting the Mona Lisa. It always reminds me of a reporter listening to a politician.

Do not let it look as if you reasoned too much. Painting must be impulsive to be worth while.

Doing the show was like painting the George Washington Bridge. As soon as you finished one end, you started right in on the other.

Do console your poor friend, who is so troubled to see his paintings so miserable, so sad, next to the radiant nature he has before his eyes!

Do I doubt the painting I've just painted because it is not right or because I can never like what I do?

Don't be too precious or attached to anything you write. Let things be malleable. For sketch writers, remember they're called sketches for a reason. They're not called oil paintings. Some of them are going to stink. You have to let them stink.

Don't get me wrong-painting's all right. But now that we have photography, what's the point?

Don't put needless expense into painting a head! Don't try to match tints! Rose and pearly colours blend into each other so that no one can unite them if painted separately. Keep the impression of your subject as one thing!

During my youth, I was fascinated by the colors of Van Goth's paintings

Drawing or painting allows the artist to know himself as a whole person.

Dwight is a sad clown. You've seen those paintings of sad clown.

Each painting seems to have a very specific size it wants to be. I have even started a painting or two over just because I didn't like the feeling of the particular image at a particular size. The Parlor needed to be large because I wanted it to feel like a full-size room you could step into. Unfortunately for me, I paint the same way on an eight-foot canvas as I do on a five-inch miniature. I still use very tiny brushes and noodle every square inch. It took me nearly a year to paint The Parlor.