Top 62 Quotes & Sayings by Paul Smith

It [piano lessons] wasn't a priority, but it was an interest and through that I became acquainted with classical music, which was a main interest at the time.

I was always making things. I made model airplanes and did a number of hands-on activities. I liked creating in some form or another, not realizing what it was all about.

When life closes a door, God opens a window.

Jack Sturtzer, one of my cousins, had gone to art school and suggested that I might be interested in a private school called the Art Institute of Buffalo, and in fact that is what happened. So upon graduation in 1948, I then went to stay with my cousins on Seventeenth Street and enrolled in the program at the Art Institute on Elmwood Avenue.

I was always busy doing something, being an only child.

Stop making sense. Logic is predictable. Think differently.

My parents' names were Florian and Mabel Smith. My mother's maiden name was Dersam. They were of German heritage and were part of a family community with my grandparents and uncles and relatives. I was an only child.

I'm very curious and being childlike is vital in our industry

I learned from books that I picked up. That was something that just came out of nowhere but continued to be an attraction. So there was a continuum of my interest in the arts and involvement in creating that was strong enough that it later blossomed into much more.

Upon graduation, in the yearbook I was voted "Most likely to succeed." which I know was credited to my artistic achievements.

There was a certain amount of discipline, I think; my parents wanted to be sure that I was not just sitting around doing nothing.

I think I was really naïve. I had no context to think about what I wanted to do. Each step was a next stage of exploration.

I'm pleased to say that it [ a paper on the history of Attica] got much recognition with a 99 grade. It was shown to the Attica Historical Society, who enthusiastically responded to it and read it at one of their annual meetings resulting in an article in the local newspaper about this excellent paper being presented. As I now look back at it, I think of that as being really my first book and did indicate that I did have interest in research.

I developed friends in the community that were in walking distance or a bicycle ride away, so that I socialized and did a lot of things that children do in their early years.

It was mainly a growing farm, although we did have chickens and a few animals, but I did help to some degree with that. I have to say that it was not my favorite association.I did what I was asked to do.

There's always an important person who helps support your interests and encourages you.

I graduated in June 1948 and then went in the fall to the art school. I stayed with my cousins on Seventeenth Street in the beginning, and later had my own apartment very near there and was able to walk to the Art Institute on Elmwood Avenue. The school had a faculty of local artists - Jeanette and Robert Blair, James Vullo who were well known in the area. It was a school that I think thrived on returning GIs, as many schools did at that time. It was a very informal program - but it was professional.

I know that I was conscious of all the aspects of the war, having had cousins who were in the army, who would send me notes and memorabilia. I began to collect things that they would send me.

I became a bit of a teacher's pet, and it became known in the school by both faculty and students that I really excelled in the arts. So that recognition I credit for my growing interest in art that continued to evolve later on.

When knowledge is scant or conflicting, folklore takes over.

At one point I had dreams of being in the school band, but I didn't play an instrument that qualified me, and that was a problem. I always had fantasies to be part of that, but I did take my piano lessons quite seriously.

I was painting furniture, learning to stencil, and explore all kinds of traditional techniques of decoration. I learned from books that I picked up.

People, even children, aren't really afraid of change. They're afraid of not being prepared for change.

Many people look but they do not see.

Experience is the best teacher. A compelling story is a close second.

What I adore is mixing the unexpected, things you don't imagine should go together

At home, the radio was a big source and the classic radio programs we would listen to like Amos and Andy and whatever other ones there were.

I've always been a keen cyclist, I'm very close to the world of cycling. Not just cycling really - also walking, adventures, being a curious person, traveling to new countries.

The Japanese are hard to understand, but once you do the world is your oyster.

In thinking back, not having any experience in any other elementary school, there may have been an advantage of being with different age groups to benefit from what they were learning in a more advanced capacity. With a small group like that, there was a lot of one-to-one teaching.

Christianity began in Palestine as an experience, it moved to Greece and became a philosophy, it moved to Italy and became an institution, it moved to Europe and became a culture, and it moved to America and became a business! We've left the experience long behind.

I got the letter about becoming a Sir in 2000, the same year that Pauline asked me if we could finally get married. My assistant, Colette, called up and it turned out both the wedding and the Buck House ceremony were happening on the same day. I was knighted at 11 and married at four. She became an instant Lady.

The class situation [at Art Institute on Elmwood Avenue] was such that one would be very much on their own to paint or draw. The faculty was roving to give opinions or help out technically, which all the faculty did very well.

There were neighbors that I played with and did all the things that children do. I did mow the lawn. I did help with various things that needed to be done to occupy my time.

My parents never prevented me from doing anything, but they didn't have the knowledge of the arts that Mrs. Ranger had.

It was only when I got to high school and was in the art program that my artistic talent was recognized. The art program was directed by a wonderful and a very important person in my life - Charlotte Ranger, who was referred to as Mrs. Ranger. She had been teaching in the school for many years.

In terms of any sacrifices at the time [of World War II], I was somewhat protected living on a small farm where there was food, different perhaps from living in a city environment. I know such things as gas rationing did exist, but it wasn't anything that interfered with my daily activity.

Fortunately, I had cousins who lived in Buffalo and would often go to visit them, which I loved to do because I liked Buffalo as it was a big city. Even today, the bigger the city, the better.

He [my father] didn't have a basement workshop as such, but I know that he did build things, construct things, repair things. My mother, likewise, was sewing and doing activities that often take place in a household.

Even today, the bigger the city, the better. That's why I live in New York.

At the end of the elementary program, I then had to move onto high school. Simultaneously, my parents moved to Attica to a suburban area not far from the well-known Attica State Prison. Then I would take the school bus which was a very short distance away, where I was involved with a much larger community.

I think there were some programs but in those days art programs were kind of basic. You would do drawing and simple collage type work. But at home I was beginning to get interested in doing my own thing as well. I'm not sure what inspired this, but I became very interested in decorating things.

Going back to the elementary school days, I was always drawing. I entered a Victory poster competition and won the top award that recognized my artistic instincts.

Don't dress for fashion, dress for yourself

Fashion is about today and tomorrow. Nobody cares how good you used to be

Great stories happen all around you every day. At the time they’re happening, you don’t think of them as stories. You probably don’t think about them at all. You experience them. You enjoy them. You learn from them. You’re inspired by them. They only become stories if someone is wise enough to share them. That’s when a story is born.

We've got a nation of people who have one eye looking out for the next speed camera, another looking for a speed limit sign and another looking at the speedometer - which is a bit of a shame, when you only have two eyes.

Charles Burchfield was exceptional. As such an accomplished artist, he had limited previous association with academia and teaching.

Being born in '31 was during the Depression and in my earlier youth World War II took place - so it was not the best of times, and yet I don't recall ever having experiences that were a burden.

I think it was interesting that when you're in those formative years you respond to things that interest you and don't always know where they lead. But they accumulate and add up to something that enriches your later life or leads you to some new experience.

The first important [step] one was going to school. There was an advantage as there was a one-room schoolhouse that was within walking distance of my home. I went there being very shy, but I fit in quickly, and I was nurtured by a very dedicated and caring teacher, Magdalen George, who we referred to as Miss George. She was my teacher for a full seven years.

In a social studies class I did a paper on the history of Attica, which ended up being a little book that I created.

I was engaged in all the required courses of math and geometry, but the area that I blossomed in was the art program.

Charles Burchfield would look at what you were working on and not say anything for several minutes. Then he would very sensitively respond - "Well, have you thought about?" or "Might you consider?" I respected that so much because I thought he was so sensitive to my work, and didn't want to offend me, but in the right way to encourage me.

I was there [in school] the full time with one teacher, and the student body was never more than 10 or 12 students of all ages.

You can find inspiration in everything. If you can't, then you're not looking properly.

Maybe that's what I've based my career on: getting up earlier than everyone else so I get an extra couple of hours.

One association with the arts that I vividly remember was a magazine called Normal Instructor, a teachers' magazine, that Miss George would hold up with illustrations of great artworks like [Vincent] van Gogh and Rembrandt [van Rijn].

I was always kind of naïve, and really needed to be given some direction.

The environment itself was culturally a vacuum, in that there was simply nothing that would inspire me in the arts. But my parents were always very supportive of anything that I explored or wanted to do.