Best 1313 quotes in «painting quotes» category

If my husband ever met a woman on the street who looked like one of his paintings he would faint.

If one has set for himself the position that his painting shall not misconstrue his personal mode of thinking, then he must be rather alert to just what he does think.

If one were to ask a painter what he felt about anything, his just response - though he seldom makes it - would be to paint it, and in painting, to find out.

If painting weren't so difficult, it wouldn't be fun.

If some student came up and wanted to know where to study painting, you'd want to suggest someplace, but there's no place. I wouldn't know where to send a student to study.

If we fall into the trap of painting all Muslims with a broad brush and imply that we are at war with an entire religion, then we are doing the terrorists' work for them.

If you add something to a painting, never let it be for aesthetic reasons. Only let it be for reasons of expression.

If you ask me what the world looks like to me, it looks like a painting by Pissarro.

If you do things, whether it's acting or music or painting, do it without fear - that's my philosophy. Because nobody can arrest you and put you in jail if you paint badly, so there's nothing to lose.

If you go to a concert, you will notice, is it loud? Is the music fast? Is it predominately strings or brass? There are things we can all register, whether we are musicians or not. Painting's no different. Taking pleasure in projecting oneself into the painting is the act of looking. That's what looking is.

If you start a painting and you don't like where it's going, don't give up on it. Just keep going and follow through. You might be surprised how it ends up.

If you're stuck in a painting, then stop and draw something else. Draw a flower and put your love into that flower. Then your powers will come back again.

If you stand too close to a painting - all you see are patches of color, if you stand too far back, you can't see any of the detail.

If you start painting yourself into a corner, life starts shutting down. There is always hopefully a next.

If you're the creative, artsy one who goes off to study painting or filmmaking, you're often seen as an outsider partly because traditionally, it has never been seen as a way to have a career.

If you scratch a great photograph, you find two things; a painting and a photograph.

I go out each morning and draw. I can't really start a painting in the morning until I've done a drawing.

I had a visit from an artist friend who basically said, "Your paintings are wonderful. Now stop." It did resonate with me. It hit on the percolating need for change that was already there. I got a little push. I did a group of the paintings early on that were among the best. It was sort of beginner's luck with these.

I had some money, I made the best paintings ever. I was completely reclusive, worked a lot, took a lot of drugs. I was awful to people.

I had gone to Paris to immerse myself in painting and I came back wholly involved in words and rhythms.

I had the desire to paint the figure without actually painting the figure.

I have, and do sometimes, work with other media. But there is something about the physical activity and the directness of painting that I find fascinating. I am very attracted to the materiality of paintings and the visual phenomena of hue and value.

I have always enjoyed drawing and painting but I don't always find the time to do much these days.

I hardly ever stretch the canvas before painting.

I hate darkness. Claude Monet once said that painting in general did not have light enough in it. I agree with him. We painters, however, can never reproduce sunlight as it really is. I can only approach the truth of it.

I have an idea of a set of colors and see what I have. A lot of things, the best, more magical things in the paintings just sort of happen. They aren't things I thought of in advance. They are more things I am given. What paint does, in watercolor more than oil but it happens in oil too, are things one never expects if you work freely. I suppose I learned a lot coming to this after years of playing improvisational music. I have to trust my intuition and I work in the moment, when that moment seems to be happening. And to leave it alone when it is not.

I have a painting where somebody's holding a chicken, and underneath the chicken is somebody's head.

I have been continuously aware that in painting, I am always dealing with... a relational structure. Which in turn makes permission 'to be abstract' no problem at all.

I have found in my still-life work that I seem to be able to tell what objects are important to me by what tends to stay in the painting as it develops.

I have friends come over and we read plays out loud and I make paintings and I just do things all the time just so I don't ever feel like I'm sitting around.

I have heard of your paintings too, well enough; God has given you one face, and you make yourselves another.

I have never seen either angels or goddesses, so I am not interested in painting them.

I have no education, I have no academic background in painting or in music, but I write music and I compose music and I write and I sell paintings, and my rule is, well, they can't arrest me.

I have no fear of making changes, destroying the image, etc., because the painting has a life of its own.

I haven't many years left ahead of me and I must devote all my time to painting, in the hope of achieving something worthwhile in the end, something if possible that will satisfy me.

I have not collected art. Art collected me. I never found paintings. They found me. I have never even owned a work of art. They owned me.

I have often seen quite demented patients recognize and respond vividly to paintings and delight in the act of painting at a time when they are scarcely responsive, disoriented, and out of it.

I haven't stopped painting or drawing - I've just added another medium.

I have tried to draw the human effigy (and all the other subjects dealt with in my paintings) in an immediate and effective way without any reference to the aesthetic.

I have to make what I see, whether it's a painting, a table, or a movie, or it's like a death and what would be the point of that?

I hope to actually get back to painting someday... soon. I sort of transitioned into cartooning from painting.

I initially felt shy about doing painting because I wasn't a professional painter. I almost felt like I didn't deserve to paint. But I have gradually adopted a different kind of attitude about this.

I inherited a painting and a violin which turned out to be a Rembrandt and a Stradivarius. Unfortunately, Rembrandt made lousy violins and Stradivarius was a terrible painter.

I know how pathetically inadequate my medium [painting] is, but unfortunately I dispose of no other.

I just realized that I never look at a painting and ask, 'Is this painting fictional or non-fictional?' It’s just a painting.

I kept.. ..returning to the (ancient Roman) wall paintings with their veiled melancholy and elegant plasticity.

I know for sure that I have an instinct for color, and that it will come to me more and more, that painting is in the very marrow of my bones.

I just keep painting till I feel like pinching. Then I know it's right.

I keep plastering it until it comes around to what I want, in terms of all I know and think about painting now, as well as in terms of the initial observation.

I know well enough in advance that you'll find my paintings perfect. I know that if they are exhibited they'll be a great success, but I couldn't be more indifferent to it since I know they are bad, I'm certain of it.