I am primarily an oil painter and a studio painter, so originally I was going to do an oil painting.
I went to college as a theater major. But after about three weeks of that, I changed to the school of fine arts as a painter.
Norwich is a fine city. None finer. If there is another city in the United Kingdom with a school of painters named after it, a matchless modern art gallery, a university with a reputation for literary excellence which can boast Booker Prize-winning alumni, one of the grandest Romanesque cathedrals in the world, and an extraordinary new state-of-the-art library then I have yet to hear of it.
The true painter must be able, with the most usual things, to have the most unusual ideas.
The colors and creativity of our painters attracted me, but I remember that I was shocked by the lack of proportion.
I always tell the younger filmmakers and students: Do it like the painters used to...Study they old masters. Enrich your palette. Expand the canvas. There's always so much more to learn.
Photography is not easy. You know it takes a painter or a sculpture or a musician years to perfect their technique. Then they're free to make an expression in a matter of moments. It takes moments for a photographer to perfect his technique. And then it takes years for him to make it into something that is truly creative and worthwhile.
You may be perfect in playing the piano, and not be creative; you may play the piano most brilliantly, and not be a musician. You may be able to handle color, to put paint on canvas most cleverly, and not be a creative painter. You may create a face, an image out of a stone, because you have learned the technique, and not be a master creator. Creation comes first, not technique.
We want to be famous as a writer, as a poet, as a painter, as a politician, as a singer, or what you will. Why? Because we really don't love what we are doing. If you loved to sing, or to paint, or to write poems, if you really loved it you would not be concerned with whether you are famous or not.
Very few people are accepted as creative: A few painters, a few poets - one in a million. This is foolish! Every human being is a born creator. Watch children and you will see: all children are creative. By and by, we destroy their creativity.
When the modern movement began, starting perhaps with the paintings of Manet and the poetry of Baudelaire and Rimbaud, what distinguished the modern movement was the enormous honesty that writers, painters and playwrights displayed about themselves. The bourgeois novel flinches from such notions.
I cannot find any patience for those people who believe that you start writing when you sit down at your desk and pick up your pen and finish writing when you put down your pen again; a writer is always writing, seeing everything through a thin mist of words, fitting swift little descriptions to everything he sees, always noticing. Just as I believe that a painter cannot sit down to his morning coffee without noticing what color it is, so a writer cannot see an odd little gesture without putting a verbal description to it, and ought never to let a moment go by undescribed.
I don't think any particular painters have inspired me, except in a general sense. It was more a matter of corroboration. The visual arts, from Manet onwards, seemed far more open to change and experiment than the novel, though that's only partly the fault of the writers. There's something about the novel that resists innovation.
We are not a warlike people. Nor is our history filled with tales of aggressive adventures and imperialism, which might come as a shock to some of the placard painters in our modern demonstrations. The lesson of Vietnam, I think, should be that never again will young Americans be asked to fight and possibly die for a cause unless that cause is so meaningful that we, as a nation, pledge our full resources to achieve victory as quickly as possible.
No writer, painter, or actor - no artist - is ever handed a sharp knife (although a few people are handed almighty big ones; the name we give to the artist with the big knife is 'genius'), and we hone with varying degrees of zeal and aptitude.
A painter paints to unload himself of feelings and visions.
The painter strives and competes with nature.
My core competency has really informed my painting. The roots of editing stem from classical paintings - classic painters intended to drive your eye from this conflict to that intrigue, ending with a caprice. That is a montage, that is editing. It became a flipbook in later generations.
I feel like at the end of the day, as entertaining as movies are, when you're part of them in a way, it's this beautiful art form and that's what it feels like for me. I'm not a painter, but I can express myself visually in a way that allows me to artistically create.
My life as a painter influences my teaching and my duties as president of CCA - and I hope some of the experience of working at an exciting art school also spills over into my studio work. I believe most artists are adept at juggling multiple responsibilities - whether it's work, teaching, caring for family members or attending to relationships - with their studio commitment.
I am not a juicy painter.
Architects and painters know precisely what they are about as long as they deal with material phenomena.... But when they come to the aesthetics of their work, when they aim at a particular effect on the mind or on the senses, the rules dissolve into nothing but vague ideas.
When I'm traveling to promote my book, I feel like an artful impostor. What I really am is when I'm in my (painter's) studio and when I'm writing. With actors, it's the same thing. They're kind of artful impostors in public. When you get to know them, they're different people.
By poetry we mean the art of employing of words in such a manner as to produce an illusion on the imagination; the art of doing by means of words, what the painter does by means of colors.
Like the musician, the painter, the poet and the rest, the true lover of flowers is born, not made.
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