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Painting Quotes

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Painting Quotes

“Whereas certain people start with a recollection or an experience and paint that experience, to some of us the act of doing is the experience; so that we are not quite clear why we are engaged on a particular work. And because we are more interested in plastic matters than we are in matters of words, once can begin a painting and carry it through and stop it and do nothing about the title at all. All pictures are full of association.”

“My art in the last period has all been in small format, but my paintings have become even deeper and more spiritual, speaking truly through colour. Feeling that because of my illness I would not be able to paint very much longer, I worked like a man obsessed on these little 'Meditations' (a long series of small paintings he made during the last years of his life, with as main motif the schema of a face, ed.). And now I leave these small but, to me, important works to the future and to people who love art.”

“Making this movie as a period piece about a period that was very recent in people's minds. I was in Taiwan [during the 1970s], so I hope I did all right. Otherwise, it could be the biggest embarrassment of my life. Also, the story is not linear, it's patchy, like a cubist painting, and there is always the possibility it will not hold together, it will fall apart. The tone is part satire, part serious drama, part tragedy, all mixed together, and it has to hit an emotional core. That's also very scary.”

“In fine arts, when you make a painting, it's just a painting. But if you make a painting in the entertainment industry, it can be an album cover or a t-shirt or a logo. I like that entertainment has this usefulness - that it's ultimately trying to make a bunch of people feel something, and to think about life and be able to use things that were so simple and direct but potentially have a really powerful effect.”

“For it is only framed in space that beauty blooms. Only in space are events and objects and people unique and significant-and therefore beautiful. A tree has significance if one sees it against the empty face of sky. A note in music gains significance from the silences on either side. A candle flowers in the space of night. Even small and casual things take on significance if they are washed in space, like a few autumn grasses in one corner of an Oriental painting, the rest of the page bare.”

“Humans have changed the landscape so much, but images of the sea could be shared with primordial people. I just project my imagination on to the viewer, even the first human being. I think first and then imagine some scenes. Then I go out and look for them. Or I re-create these images with my camera. I love photography because photography is the most believable medium. Painting can lie, but photography never lies: that is what people used to believe.”

“One of the marks of true genius is a quality of abundance. A rich, rollicking abundance, enough to give indigestion to ordinary people. Great artists turn it out in rolls, in swatches. They cover whole ceilings with paintings, they chip out a mountainside in stone, they write not one novel but a shelf full. It follows that some of their work is better than other. As much as a third of it may be pretty bad. Shall we say this unevenness is the mark of their humanity - of their proud mortality as well as of their immortality?”

“You start by copying other people's paintings or music or whatever. You get all of those skills before you branch out. Really creative people have a fantastic ability to copy things and then combine them in new ways. And whether we're talking about genes or memes, recombination is the real heart of creativity.”

“If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.”

“There is an exercise I teach at colleges: Get yourself a canvas and a bunch of acrylics and go into a very dimly lighted room. Dip a brush into one of the colors, slap it on the canvas, don't look, close your eyes, make a painting, don't look, turn the lights on and see what you've got. I think this releases people from the editor in their life that's always standing over their shoulder saying, "Oh, you don't have any talent; who do you think you are?"”

“I think it's an American curse that most of us think we are special. ... everyone believes themselves to be superior to the majority of the population in some way. Sometimes it's their looks, other times their perceived sex appeal (often in obvious defiance of their looks), and other times it is their real or imagined talent for acting, writing, painting or banging on the drums. And because people are so susceptible to flattery, there exists an entire industry made up of scam artists whose sole goal is to fleece the flatterable.”

“My paintings are well-painted, not nimbly but patiently. My painting contains in it the message of pain. I think that at least a few people are interested in it. It's not revolutionary. Why keep wishing for it to be belligerent? I can't. Painting completed my life. I lost three children and a series of other things that would have fulfilled my horrible life. My painting took the place of all of this. I think work is the best.”

“Chauvet Cave is rather like the awakening of the modern human soul or I would say the awakening of modern human culture. Because Neanderthal men who still rode the landscape parallel to the people who did these paintings didn't have culture. There's no evidence of culture, no symbolic depiction, no evidence of music, no evidence of sculptures, no evidence of religious beliefs.”

“Women hock their jewels and their husbands' insurance policies to acquire an unaccustomed shade in hair or crêpe de chine. Why then is it that when anyone commits anything novel in the arts he should be always greeted by this same peevish howl of pain and surprise? One is led to suspect that the interest people show in these much talked of commodities, painting, music, and writing, cannot be very deep or very genuine when they so wince under an unexpected impact.”

“Sometimes I will portray the more normal-looking people as the monsters and then the more distorted - "uniquely formed" is the word I like to use, rather than monstrous - as the sympathetic characters in the painting. It's interesting because some people will get it right away, but a common reaction is to be a little off-put by it. And that is the whole idea. If it grabs somebody in a negative way, that's my intention.”

“For the artist, the goal of the painting or musical composition is not to convey literal truth, but an aspect of a universal truth that if successful, will continue to move and to touch people even as contexts, societies and cultures change. For the scientist, the goal of a theory is to convey "truth for now"--to replace an old truth, while accepting that someday this theory, too, will be replaced by a new "truth," because that is the way science advances.”

“People's live are expressed in little details....The soap in the bathroom, the flowers in the garden, the books on the bedside table are all strong symbols of a life in progress. You look at these details and a world unfolds - here are their books, the paintings they cherish, the music that soothes their souls.”

“I don't have a very high opinion, actually, of the world of criticism - or the practice of criticism. I think I admire art criticism, criticism of painting and sculpture, far more than I do that of say films and books, literary or film criticism. But I don't much like the practice. I think there are an awful lot of bad people in it.”