The artist can't paint, sing, or dance without emotion: if he does, he is a machine masquerading as a person.
In collage you're doing it in stages so you're not actually doing it right there. You first of all draw it on the paper, then you cut it up, then you paste it down, then you change it, then you shove it about, then you may paint bits of it over, so actually you're not making the picture there and then, you're making it through a process, so it's not so spontaneous.
A work of art in paint should be beautiful and expressive as abstract colour and form and should not interest us necessarily in any 'story' outside of itself - or else it belongs to the field of illustration.
If you're going to paint from photos, make sure you've painted for at least ten years.
You will learn to paint trees only by understanding them, their growth, their nature, their movement - and realizing that they are conscious living things. A tree seldom if ever encroaches upon the liberty of another tree. It never wastes its growth in unnecessary twistings.
Clouds are fascinating to paint because they are the only element in a landscape that possesses free movement.
I never paint a portrait from a photograph, because a photograph doesn't give enough information about what the person feels.
If Saddam Hussein committed crimes such as political oppression against the Iraqi people, it should be resolved legally in a fair and just manner which doesn't paint a sense of injustice
Being an artist and being a teacher are two conflicting things. When I paint, my work manifests the unexpected... In teaching it's just the opposite. I must account for every line, shape and colour and I am forced to give an explanation of the inexplicable and account for the variety of styles the students present.
People think you can get out your canvas and paint any time you have a free moment. You can't. Commercial art and painting are entirely different. Painting takes a different mental approach. You have to get the right attitude, the right mood.
Live to paint, don't paint to live.
The oceans of art are awash with people who can't paint. When those who can't paint notice those who can, they are sometimes not inclined to accept them as serious like themselves. It's an unfortunate quirk of human nature and ought not to be fretted over.
Painters paint, and history continues to make fools of curators.
Take your brush here and there like a bee in an alpine meadow. In other words, don't laboriously work on or try to finish off one particular part. Paint promiscuously.
No one would have the courage to walk up to a writer and ask to look at the last few pages of his manuscript, but they feel perfectly comfortable staring over an artist's shoulder while he is trying to paint.
The painting world is awash with people who cannot paint. This is a condition that would not be tolerated in other professions such as Dentistry, Medicine, or among members of the Airline Pilot's Association.
My app is the same juicy paint used by Vincent Van Gogh; my screen is the woven canvas of Titian. Painting by hand, I've come to figure, is a certain kind of love.
If we view a great mountain soaring into the sky, it may excite us, evoke an uplifted feeling within us. There is an interplay of something we see outside of us with our inner response. The artist takes that response and its feelings and shapes it on canvas with paint so that when finished it contains the experience.
Whenever I can, I paint the powerful and obvious things in my subject first.
Don't go overboard with exotic or complex ways to paint. Stick to simple solutions, unless there is a good reason to do otherwise.
Scan your subject for things that are clearly impossible. After all, paint isn't magic! If you see that certain elements in the subject are beyond the limits of your pigments, try to form an idea beforehand of how you are going to handle those areas when you get to them.
Use lots of paint and don't worry, they will make more.
Paint like a pig eats.
If there is a conflict in your mind between what you know and what you are seeing, paint what you see because if you don't, the result will look like something that isn't there.
You can stick with a few clear-cut values, which are stronger than a multitude of values and will obviously yield a stronger painting. But not all subjects or light conditions appear that way... be sensible and paint with values that are appropriate and faithful to your subject.
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