The painting rises from the brushstrokes as a poem rises from the words. The meaning comes later.
Poetry and painting are done in the same way you make love; it's an exchange of blood, a total embrace - without caution, without any thought of protecting yourself.
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.
For me, a painting must give off sparks. It must dazzle like the beauty of a woman or a poem.
I feel the need of attaining the maximum of intensity with the minimum of means. It is this which has led me to give my painting a character of even greater bareness.
Little by little, I've reached the stage of using only a small number of forms and colors. It's not the first time that painting has been done with a very narrow range of colors. The frescoes of the tenth century are painted like this. For me, they are magnificent things.
I make no distinction between poetry and painting.
When I stand before a canvas, I never know what I'll do, and I am the first one surprised at what comes out.
Painting or poetry is made as one makes love - a total embrace, prudence thrown to the winds, nothing held back.
I begin painting and as I paint the picture begins to assert itself, or suggest itself, under my brush. The form becomes a sign for a woman or a bird as I work... The first stage is free, unconscious... the second stage is carefully calculated.
Painting must be fertile. It must give birth to a world.. ..it must fertilize the imagination.
I want to assassinate painting.
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