I think one's art goes as far and as deep as one's love goes.
Most artists look for something fresh to paint; frankly I find that quite boring. For me it is much more exciting to find fresh meaning in something familiar.
I prefer winter and fall, when you feel the bone structure of the landscape. Something waits beneath it; the whole story doesn't show.
Believe in yourself and believe in love. Love something.
I'm not at all interested in painting the object just as it is in nature. Certainly I'm much more interested in the mood of a thing than the truth of a thing.
When you lose your simplicity, you lose your drama.
I search for the realness, the real feeling of a subject, all the texture around it... I always want to see the third dimension of something... I want to come alive with the object.
It's a moment that I'm after, a fleeting moment, but not a frozen moment.
I think you have to use your eyes as well as your emotion, and one without the other just doesn't work
My aim is not to exhibit craft, but rather to submerge it, and make it rightfully the handmaiden of beauty, power and emotional content.
If you clean it up, get analytical, all the subtle joy and emotion you felt in the first place goes flying out the window.
What you have to do is break all the rules.
I do an awful lot of thinking and dreaming about things in the past and the future - the timelessness of the rocks and the hills - all the people who have existed there.
I don't think that there is anything that is really magical unless it has a terrifying quality.
Don't overdo it, don't underdo it. Do it just on the line.
I think one's art goes as far and as deep as one's love goes. I see no reason for painting but that. If I have anything to offer, it is my emotional contact with the place where I live and the people I do.
If somehow I can, before I leave this earth, combine my absolutely mad freedom and excitement with truth, then I will have done something.
God, I've frozen my ass off painting snow scenes!
I get letters from people about my work. The thing that pleases me most is that my work touches their feelings. In fact, they don't talk about the paintings. They end up telling me the story of their life or how their father died.
Artists today think of everything they do as a work of art. It is important to forget about what you are doing - then a work of art may happen.
I dream a lot. I do more painting when I'm not painting. It's in the subconscious.
The most irritating experience for an artist is to have his work criticized before it is finished.
To be interested solely in technique would be a very superficial thing to me. If I have an emotion, before I die, that's deeper than any emotion that I've ever had, then I will paint a more powerful picture that will have nothing to do with just technique, but will go beyond it.
I have a good friend, Rudolf Serkin, the pianist, a very sensitive man. I was talking to him one day backstage after a concert and I told him that I thought he had played particularly sensitively that day. I said, "You know, many pianists are brilliant, they strike the keys so well, but somehow you are different." "Ah," he said, "I don't think you should ever strike a key. You should pull the keys with your fingers."
My struggle is to preserve that abstract flash - like something you caught out of the corner of your eye, but in the picture you can look at it directly.
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