If you stare at an object, as you do when you paint, there is no point at which you stop learning things from it.
I'm not just interested in the pictorial aspects of the landscape - see a pretty place and try to paint it - but in some way to manage it, manipulate it, or see what I can turn it into.
When you think of painting as painting it is rather absurd. The real world is before us - glorious sunlight and activity and fresh air, and high speed motor cars and television, all the animation - a world apart from a little square of canvas that you smear paint on.
I don't want dead paint, so I test many of my works by studying them in a dark room at twilight or even after dark to check the luminosity. If the darker forms still have resonance and luminosity, I know the painting's working.
I never thought that I would support myself with art - everyone in the Group of Seven had day jobs. I became a geography teacher so that I could get free field trips into the wilderness to paint.
It doesn't take more skill to paint hundreds of strokes rather than one right stroke but it takes more patience.
It is... treading on dangerous ground to paint the picturesque as I am at times doing.
It is definitely mostly due to the invention of the camera that all this design and emphasized paint quality have come into painting.
One of the main reasons I paint is because I think nature is so wonderful. I want to try to get my feelings of that down on canvas, if possible.
Here Greek and Roman find themselves alive along these crowded shelves; and Shakespeare treads again his stage, and Chaucer paints anew his age.
At my death paint my body with red paint and plunge it into fresh water to be restored back to life, otherwise my bones will be turned into stone and my joints into flint in my grave, but my spirit will rise
I would paint a portrait which would bring the tears, had I canvas for it, and the scene should be -- solitude, and the figures -- solitude -- and the lights and shades, each a solitude.
I paint according to the moment and the theme. I don't have any prejudice. Life concerns me.
The good people of Dakota offered to give Calvin Coolidge a farm if he would live on it. I wouldn't advise you to give those people too much credit for generosity. There is not a farmer in any State in the West that wouldn't be glad to give him a farm if he will paint it, fix up the fences and keep up the series of mortgages that are on it. And if you think Coolidge ain't smart, you just watch him not take it.
If we want to make meaning, we need to make art. Cook, write, draw, doodle, paint, scrapbook, take pictures, collage, knit, rebuild an engine, sculpt, dance, decorate, act, sing - it doesn't matter. As long as we're creating, we're cultivating meaning.
People with an impoverished vocabulary live an impoverished emotional life; people with rich vocabularies have a multihued palette of colors with which to paint their experience, not only for others, but for themselves as well.
Man creates what he is, man creates himself. The meaning has to be created. You have to sing your meaning, you have to dance your meaning, you have to paint your meaning, you have to live it. Through living, it will arise; through dancing, it will start penetrating your being. Through singing, it will come to you. It is not like a rock just lying there to be found, it has to bloom in your being.
My father had wanted to be a commercial artist. He got as far as being a photographer in the army in World War II, but he was always a Sunday painter. At a certain point, he gave me his oil paints and I messed around with them, having no idea what I was doing.
It's a funny semantic turn - when someone paints a landscape, no one says they "borrowed" it, only that they painted it.
I don't want to paint myself as some kind of saint - that would be laughable - but I do think I've been able over the years to write humanely about subjects who are controversial and even contemptible. I've profiled pedophiles, stalkers, serial rapists, prison gang members and corrupt politicians.
It's a privilege, you know, to paint and it takes up a lot of time and it means there's a lot of things you don't do. But still, with me, painting was more than a profession, it was also an obsession. I had to paint.
Cezanne said, 'I love to paint people who have grown old naturally in the country.' And I say I love to paint people who have been torn to shreds by the rat race in New York.
I know all the theory of everything but when I paint I don't think of anything except the subject and me.
No artist, if he has original talent, can paint like another.
Impressionism came about because it suddenly became apparent that pure colours mix in the eye in a more dazzling way than they have ever been mixed in paint.
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