Best 1313 quotes in «painting quotes» category

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    Speaking of nudes, I have always had a great fondness for this subject, both in my paintings and in my photos, and I must admit, not for purely artistic reasons.

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    Start a painting with fresh ideas, and then let the painting replace your ideas with its ideas.

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    Sunlight is painting.

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    Surface is a modernist concept. What surface does is to encourage one to see the painting as object rather than as a window on the world.

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    Technology's always changing. There was a time where oil painting was a new technology. That changed painting.

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    That sculpture is more admirable than painting for the reason that it contains relief and painting does not is completely false. ... Rather, how much more admirable the painting must be considered, if having no relief at all, it appears to have as much as sculpture!

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    That’s the huge problem with an abstract painting. When are you done? You’re done when you don’t want to do it anymore.

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    That's what it's all about - making art is making something live forever. Human beings especially - we can't hold on to them in any way. Painting and art is a way of holding onto things and making things go on through time.

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    That's what all painting is about, it”s space and light occupied by human presences.

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    That's why people listen to music or look at paintings. To get in touch with that wholeness.

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    The Academies of Art are nothing but great painting factories - those with talent are fed in at one end, and they come out as mechanical painting machines.

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    The act of painting is about one heart telling another heart where he found salvation.

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    The air we see in the paintings of the old masters is never the air we breathe.

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    The animation of the canvas is one of the hardest problems of painting.

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    The artist has the power to signoff the work by deconstructing the work itself: I've finished this work now and I'll sign it and relegate the painting to simply something that services my signature. The painting becomes the colorful backdrop of the signature.

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    The artistic process in digital art is very much the same as for making other kinds of paintings.

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    Take the birds which you'll have noticed in so many of my recent paintings. I never thought them up, they just materialized of their own accord; they were born on the canvas... it is absurd to read any sort of symbolic significance into them.

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    Teach the children! It is painting in fresco.

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    The artist finds a greater pleasure in painting than in having completed the picture.

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    The artist should paint not only what he sees before him, but also what he sees within him. If, however, he sees nothing within him, then he should also refrain from painting that which he sees before him. Otherwise, his pictures will be like those folding screens behind which one expects to find only the sick or the dead.

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    The art has to make it on its own, without explanations, and it’s the same for poetry. If the poem or the painting has to be explained, then it’s a failure in communication.

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    The arts teach and moralise by their beauty alone, not by translating a philosophical or social formula. For the truly artistic person, painting has itself as it's purpose, which is quite enough.

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    The best way to begin is to say: 'Balthus is a painter of whom nothing is known. And now let us have a look at the paintings'.

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    The big picture is that there is no big picture. That's why we keep painting it.

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    The black person is the protagonist in most of my paintings. I realized that I didn't see many paintings with black people in them.

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    The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.

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    The creative process obtains in all creative acts. So if I'm painting suddenly I'll see something that I didn't see before.

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    The dog, the rabbit and the hoop all feature in the painting, and take the place of the orrery.

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    The edge in modern painting is charged with neurosis; it meets a world that no longer confirms it but which is hostile or at best indifferent.

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    The ephemeral nature of live performance is the part I love most - it's a monk's sand painting, carefully constructed, then wiped away in an instant.

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    The expressive techniques of painting are capable of conveying an analogy but not an impossible photograph of a moment.

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    The final test of a painting, theirs, mine, any other, is: do the painter's emotions come across?

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    The first hope of a painter who feels hopeful about painting is the hope that the painting will move, that it will live outside its frame.

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    The frame is the pimp of painting; it enhances it, but it must never shine at the painting's expense.

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    The great paintings are the ones with the most subtle value relationships. The closer you could bring your values and still distinguish between them, the stronger you were as a painter.

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    The kind of painting which I find exciting is not necessarily representational or non-representational, but it is musical and architectural... Whether this visual relationship is slightly more or slightly less abstract is, for me, beside the point.

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    The latest fashion… is absolutely necessary for a painting. It’s what matters most.

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    The mind paints before the brush.

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    The more successful paintings just fall off the brush. The less successful ones take longer.

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    The morphlings from District 6 are in the camouflage station, painting each other's faces with bright pink swirls.

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    The most difficult object in painting is yourself because you're always at issue

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    The most interesting painting is one that expresses more of what one thinks than of what one sees

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    The new painting has broken down every distinction between art and life.

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    The only thing I can say is consistent in all my paintings is vivid color.

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    The painter should not paint what he sees, but what will be seen.

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    The painter should paint not only what he has in front of him, but also what he sees inside himself. If he sees nothing within, then he should stop painting what is in front of him.

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    The painter sees the semblance of things and repeats it. That is, without fabricating the things himself, he fabricates their semblance; and, if that no longer recalls any object, this artificially produced semblance functions only because it is scrutinized for likeness to a familiar - that is, object-related - semblance.

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    The Painter's Keys is a timeless, universal guide to lifemanship masquerading as a painting blog.

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    The painting is finished when the idea has disappeared.

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    The painting is usually finished before you are.

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