Very few people have a natural feeling for painting, and so, of course, they naturally think that painting is an expression of the artist's mood. But it rarely is. Very often he may be in greatest despair and be painting his happiest paintings.
Before I start painting I have a slightly ambiguous feeling: happiness is a special excitement because unhappiness is always possible a moment later.
I have to hope that my instincts will do the right thing, because I can't erase what I have done. And if I drew something first, then my paintings would be illustrations of drawings.
Everybody has his own interpretation of a painting he sees.
We only have our nervous system to paint.
Painting is the pattern of one's own nervous system being projected on canvas.
I should have been, I don't know, a con-man, a robber or a prostitute. But it was vanity that made me choose painting, vanity and chance.
Unfinished paintings are more admired than the finished because the artist's actual thoughts are left visible.
Refine your senses through the great masters of music, painting, and poetry.
The joy of painting lies precisely in the challenge of memory and the challenge of translation from the lived experience to the two-dimensional or three-dimensional symbol.
Painting is a matter of finding the right balance between consoling and reassuring the eye and challenging and disturbing the eye.
I see no thread running through my work; I simply get on with my life and my painting.
Intensity is all that matters in painting.
Nobody is made anything by hearing of rules, or laying them up in his memory; practice must settle the habit of doing, without reflecting on the rule; and you may as well hope to make a good painter, or musician, extempore, by a lecture and instruction in the arts of music and painting, as a coherent thinker, or a strict reasoner, by a set of rules, showing him wherein right reasoning consists.
Too much sparkle can detract from the focal point of the painting, so I blend some areas to tone down the look of the pastels in less important areas.
It was van Gogh's madness that prevented him from working; the paintings themselves are ineffably sane, if sanity is to be defined in terms of exact judgment of ends and means and the power of visual analysis.
What a director does... essentially, it's storytelling, but a director also controls the feeling and the sounds and the texture. It's an act of creation, like a symphony or a painting or a story. But with different tools.
I like to go to art museums and name the untitled paintings... Boy With Pail... Kitten On Fire.
In my house on the ceilings I have paintings of the rooms above... so I never have to go upstairs.
In a way records are like paintings. Instead of using paints and brushes we use sounds and instruments.
I started hiding my paintings in certain ways, like behind panes of glass for example. Then, instead of hiding them I did something quite cold and clinical: I built a wooden box, filled it with enamel paint and dunked the painting in so you could only see a suggestion of it from a controlled point of view.
To me, the art of cinema is the same as the art of painting. The artist takes a 2D medium and gives you the illusion of depth. If you look at any of the great paintings, you have the illusion of depth. Which is part of the art. The same with the great movies.
You don't leave the film alone. You have a new audience, and you have a new medium. Why would you leave it alone? Film is not an antique. It's not a relic. It's not a Leonardo da Vinci. I don't want someone painting over a da Vinci or Rembrandt. But these movies aren't that.
I am very sensitive to all form of music, painting, sculpting, dancing, and I love cinema also. For example if I look at the work of the dancer Mikhail Baryshnikov, who happens to be a friend of mine, everything he does is inspiring to me.
I like fishing, I like painting; I like painting fish.
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