All pictures painted inside in the studio will never be as good as the things done outside.
Co-operating critics comb the studios like big-league scouts, prepared to spot the art of the future and to take lead in establishing reputations. Art historians stand by ready with cameras and notebooks to make sure every novel detail is safe for the record. The tradition of the new has reduced all other traditions to triviality.
I don't get into 'becauses.' When you come into a studio you see a number of works. My habit is to go to the one I like most. If you start to say, 'because,' you get into art jargon.
I have a studio in the country - in the woods - but my paintings look more real to me than what is outdoors. You walk outside; the rocks are inert; even the clouds are inert. It makes me feel a little better. But I do have a faith that it is possible to make a living thing, not a diagram of what I have been thinking: to posit with paint something living, something that changes each day.
What one does in the studio is to pose a series of problems to oneself. I've got to look for some deeper meaning, for some reason for this thing to be in the world. There's enough stuff in the world.
Even at this late date, I go into my studio, and I think 'Is this going to be it? Is it the end?' You see, nearly everything terrorizes me. When an artist loses that terror, he's through.
Storytelling is the only studio movie where the censorship is perfectly clear, the only studio movie with a big red box covering up a shot. I take pride in that - and, of course, in having avoided the fate of Eyes Wide Shut.
The true professional makes art when he is not feeling good, if the studio is too cold or too warm or the walls are falling down. We are painters and we paint. If I were a sculptor, I'd sculpt.
You are an explorer. You understand that every time you go into the studio, you are after something that does not yet exist.
One of the factors that still keeps me in the studio is that every so often I have to more or less start all over.
I think of my studio as a vegetable garden, where things follow their natural course. They grow, they ripen. You have to graft. You have to water.
Many of the old masters of watercolour painted from notes, with enthusiasm either unabated or renewed. It is hard to assume the same degree of concentration in the studio, but not impossible.
In large studio paintings... composition, or arrangement, may be better studied, and nearer perfection, washes may be more suavely graded.
The most interesting studio work, and perhaps the most practicable, is painting from pencil sketches and notes... It ensures the elimination of all facts but those essential to the effect.
When it comes to fully understanding how to strategically move all the pieces on the marketing and distribution chess board on a worldwide basis, Jeff Blake is always thinking two moves ahead and that gives Sony a true competitive edge. He is the studio's secret weapon and while he would be the first to credit his fantastic sales and marketing team, there are few executives here that deserve more credit for our successes during the past several years than Jeff.
Chaos is everywhere - and artists, to fashion art and live truthfully, have no choice but to invite this unwanted guest right into the studio.
A creative block is a fear about the future, a guess about the dangers dwelling in the dark computer and the locked studio.
The artist, who must venture into the studio and risk there, and then venture into the marketplace and risk again, is obliged to learn how her defences work, so that she can drop and raise her guard instantly.
Once I started reinventing for myself what being an artist was - not going into a studio, but making things on my own terms in response to being out in the world - I started to really enjoy it... I realized that everything else for me was hell.
I thought the only way you can get into things is... through the basement... exactly where my studio was ... I could creep upstairs and snatch at things, and bring them down with me... where I could munch away at them.
It doesn't matter if they're famous or not - I just want to meet other creative people who can maybe bring something different to the studio than what I have. I think that's the most important thing for me.
Of course I will look at anything, but I have not got the time or the patience to keep on looking at art that I know could be better. I don't want art that needs fixing, I want art that sends me back to the studio to fix my own.
When I'm in the studio I often hunger for the road. And when away I long for the efficiency of the studio.
An artist needs the best studio instruction, the most rigorous demands, and the toughest criticism in order to tune up his sensibilities.
I've gradually fooled myself into becoming a real painter... I really just like to sit in my air-conditioned Rome painting studio surrounded by Medieval and Renaissance architecture and to hold a tube of Alizarin Madder Lake in my artist's hand and marvel at the shiny goop inside.
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