A Quote by Kenneth Branagh
To look out of a car in Scania, you see a painting on the horizontal - one windmill, one tiny farmhouse, acres of beet or grass.
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It certainly helped just having acres and acres of green grass, a back lawn where there's goal posts and plenty of siblings and cousins around to compete with and play against.
I have bougainvillea and a magnolia tree outside my window. Not that anything will ever beat the view I had from my desk window in my little farmhouse in Nebraska. Just a dirt road stretching out as far as you could see, with prairie grass on either side.
One learns about painting by looking at and imitating other painters. I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting.
Just the way you might look at a painting and see the painting, and the painting is outside you, so this immaterial intellect would see the forms and behold them, as if they were standing before it. And Plotinus said that that can't be right because it falls prey to sceptical objections.
When we started out in the U.K., there were songs that we made, we put them on the Internet, and we immediately started touring the U.K. We borrowed our friend's mum's car, and drove ourselves around for, like, a year playing gigs in pubs and tiny little venues. In that respect, we're pretty grass roots as a band. We've done all that together.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
Realist painting has to do with leaving out a lot of detail. I think my painting can be a little shocking in all that it leaves out. But what happens is that the mind fills in what's missing . . . Painting is a way of making you see what I saw.
Windmill or no windmill, he said, life would go on as it had always gone on--that is, badly.
When I look at a painting it isn't only the painting I see but the thing that I am. If there is more in the painting that I am, then I won't see it.
I went to see my mother the other day, and she told me this story that I'd completely forgotten about how, when we were driving together, she would pull the car over, and by the time she had gotten out of the car, and gone around the car to let me out of the car, I would have already gotten out of the car and pretended to have died.
I'm just a landscape painter. I look out the window and I see what's going on, and I paint it. While I'm painting it, I also write thoughts about what I see going on out there.
Whenever I got a new studio I made the largest possible painting, and since the ceiling was low, the painting became horizontal. As I changed studios and got larger spaces, I made bigger paintings.
If you think about Don Quixote, Don Quixote is this guy who wants to live as if he was in a medieval chivalric romance, when actually he lives in sixteenth-century Spain, which is already going through secularization, industrialization, modernization. He goes out to kill a giant, and instead he collides with this huge windmill and injures himself and also damages the windmill. I think that's a metaphor for the collisions we all have over time, as our ideas of ourselves get out of synch with the historical moment.
Men swagger around calling themselves "cattlemen" but abuse their grass like a rapist. And abuse their cattle with concrete fecal feedlots without any regards to rumen function. Vegetable growers plow thousands of acres, planting monocrops of annuals in a never-ending tillage routine that totally annihilates carbon wealth. Why? Why are we so enamored of things that destroy carbon and disrespect the animals under our care? Grass. Lowly grass. It just gets no respect. And yet it is the lifeblood of the planet.
When it comes to making decisions, I will come down on the side of Nebraska every time. If I have to choose between the White House and the farmhouse, I choose the farmhouse.
I like the look of a windmill.
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