Nobody knows what makes good art. As an artist, when it happens, you're grateful, and then you get on with it.
Your work may be great and not make its way into the big picture... like Van Gogh... so who's to say what's good and bad?
Art is completely subjective. It's up to the viewer to judge whether or not it has merit.
There is no standard way of using painting techniques.
Any artist who doesn't think he's the best should quit.
Artists need not meet any standards to practice their craft... Virtually every other occupation requires some sort of license, union membership or something that says you are qualified.
Success is a personal standard, reaching for the highest that is in us, becoming all that we can be.
Animals are reliable, many full of love, true in their affections, predictable in their actions, grateful and loyal. Difficult standards for people to live up to.
You have competition every day because you set such high standards for yourself that you have to go out every day and live up to that.
The nicest thing about standards is that there are so many of them to choose from.
An age is best revealed by its artists of the second rank.
The problem with Matisse is that I can't ever figure out when he's done a good painting or a bad painting because I don't know how to analyse him. I just know that I like the way he put it on and I like his airs and forms.
Or heritage and ideals, our code and standards - the things we live by and teach our children - are preserved or diminished by how freely we exchange ideas and feelings.
I have my own high standards for what I want in a partner and how I want to be treated. I bring a lot to the table. I'm not talking about material things but what I have to offer as a person - love and loyalty and all the things that make a good relationship.
I have a lot of respect for the auto manufacturers. They make a product people live inside - and can die inside - so they are held to very high standards.
In America the biggest is the best.
If more than 10% of the people like a painting, you can be sure it's bad.
In my opinion painting should be considered excellent in proportion as it approaches the effect of relief, while relief should be considered bad in proportion as it approaches the effect of painting.
Camp taste turns its back on the good-bad axis of ordinary aesthetic judgment. Camp doesn't reverse things. It doesn't argue that the good is bad, or the bad is good. What it does is to offer for art, and life, a different - a supplementary - set of standards.
I have said this many times in the past and will say it many times in the future I am sure: some people need to find a different hobby.
But I could never make a judgement that something was obscene.
I had become too accustomed to the pseudo-Left new style, whereby if your opponent thought he had identified your lowest possible motive, he was quite certain that he had isolated the only real one. This vulgar method, which is now the norm and the standard in much non-Left journalism as well, is designed to have the effect of making any noisy moron into a master analyst.
If tomorrow, women woke up and decided they really liked their bodies, just think how many industries would go out of business.
Being able to ‘think out of the box’ presupposes you were able to think in it.
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