I have never expected anything from my work but the satisfaction I could get from it by the very fact of painting and saying what I couldn't say otherwise.
Soul is as necessary in a painting as body.
There are pictures by Titian so steeped in golden splendors, that they look as if they would light up a dark room like a solar lamp.
The drama embraces and applies all the beauties and decorations of poetry. The sister arts attend and adorn it. Painting, architecture, and music are her handmaids. The costliest lights of a people's intellect burn at her show. All ages welcome her.
Without the definiteness of sculpture and painting, music is, for that very reason, far more suggestive. Like Milton's Eve, an outline, an impulse, is furnished, and the imagination does the rest.
I get inspiration from things that have nothing to do with painting: caricature, items from newspapers, sights in the street, proverbs, nursery-rhymes, children's games and songs, nightmares, desires, terrors. ... That question [why do you paint?] has been put to me before and my answer was, 'To give terror a face.' But it's more than that. I paint because I can't help it.
In painting I try to make some logic out of the world that has been given to me in chaos. I have a very pretentious idea that I want to make life, I want to make sense out of it. The fact that I am doomed to failure - that doesn't deter me in the least.
If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.
Used to be, conservatives revered the Average American, that Norman Rockwell oil painting of diner food, humble faith, honest toil, and Capraesque virtue.
Painting, which is essentially a rhythmic harmony of coloured spaces. Realism was the death of art. Great art should come from the harmony of two lines.
If it hurt me to have to give up a painting I figured it had to hurt them to write the check. That's how I came up with the price for my work.
Some say it appears that painting has come to an end. I say the problem is that the painters' curiosity has come to an end, and this is more observable in the West and not in the East, since in the East there are plenty of untouched and unexplored spaces that could still inspire an artist as sources of creativity.
Seurat and Signac mixed paintings with the dry and abstract laws of science. This approach, in my opinion, usually strays from the purpose of art in general. Because it means that one cannot expect from an artifact, that is created with mathematical laws, to establish an improbable and irrational relationship between the work and the viewer.
I am biased towards the belief that every painter must be grounded in strong and faultless drawing skills, and until one has not experimented with all styles of painting and has not comprehended their potentialities one's work is not complete. Even an abstract painter must know how to draw as well as a figurative artist. As for me, drawing has never created any problem, since I know how to draw anatomy correctly if I had to, I understand the function of muscle groups and sculpture.
In my paintings, the question on whether figures are similar or not is not of any importance, the slightest change of figure or color can create a new painting and it doesn't really matter if a subject is revisited by an artist repeatedly. With enough time in between paintings, an artist can always bring to it something new.
During my youth, I was fascinated by the colors of Van Goth's paintings
My favourite painting is often the one or the collection that I am currently working on. This is probably due to the fact that I don't yet know where it will take me.
All art is probably erotic in its ultimate character, but painting more than anything else is a purely nervous erotic activity.
Art, if it is successful in the task of questioning reality, if it is good painting and not merely a performance of dexterity, will be an affirmation of God.
Painting keeps me occupied in those moments when travel can be aimless and even disorienting. Mainly it is a way to register at least some of the new impressions of a foreign place, when its thrilling barrage can sometimes overwhelm you.
Paintings, like dreams, have a life of their own and I have always painted very much the way I dream.
A painter's hand has a thirst for thieving, it steals from heaven and makes a gift to the memories of men, it feigns eternity and it delights in this pretence almost as if it had created rules of its own, more durable and more profoundly true.
Most artists never get a chance to be Picasso, but that doesn't mean you would stop painting.
Like many musicians, I can hear the weight in the sound. Sound is matter. We speak of the colour of an instrument, of transparency... We can demand more sombre or lighter colours, deeper playing and singing, heavier or lighter sound. And manipulating those means is like creating a painting.
There's a spectrum of possibilities. You can underline the bass, or not at all. You can create something that is well-anchored or that is floating and never arriving. You can make a melodic line dominant or barely visible. The conducting gesture is akin to painting or sculpture.
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