A Quote by Peter Webber

I wanted to actually make people look at a painting. We don't look at paintings that much. We glance at them. — © Peter Webber
I wanted to actually make people look at a painting. We don't look at paintings that much. We glance at them.
I have always wanted to make paintings that are impossible to walk past, paintings that grab and hold your attention. The more you look at them, the more satisfying they become for the viewer. The more time you give to the painting, the more you get back.
I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.
I look at my paintings for a very long time before letting them out of my studio. I like to get on the treadmill and look around at all of my paintings while I exercise. I try to stare them down to make them reveal their weaknesses. If they reveal weaknesses, they get repainted.
People look at film in a gallery, and if they walk out after two minutes they know they haven't seen the whole work. But then people look at a painting for two minutes and think they've seen it. Certain paintings are made to be consumed fast. But some require a slowed-down time. You have to go back to them.
If I go to the National Gallery and I look at one of the great paintings that excite me there, it's not so much the painting that excites me as that the painting unlocks all kinds of valves of sensation within me which return me to life more violently.
I want my paintings to look like they were found in a garage. If they get a scratch or a hole in them, it just becomes part of the painting.
Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything.. ..A convent, a monastery, a phalanstery of painting where one could train together.. ..but no programme, no instruction in painting.. ..drawing is still alright, it doesn't count, but painting - the way to learn is to look at the masters, above all at nature, and to watch other people painting.
There's a generation of people that do fetishize books and do fetishize catalogues and do look at them as something important. The same thing with magazine culture: because magazines don't make the amount of money that they used to, it's become important again to another generation of people to actually read them. And it's very, very pinpointed to the select people that actually fetishize and go in and look at them.
I don't look at the work of my contemporaries very much; I tend to look at pictures by dead artists. It's much easier to get near their paintings.
The costumes in museums are often not exhibited well. They look dead. It is much better to look at a painting by Bronzino than to go look at a Renaissance costume.
I bought a painting in Madrid on my first trip there too and a lot of people say, 'Well it's not the greatest painting' and I say, 'It is to me.' OK, you can look at a beautiful painting and say, 'That's beautiful' but to me, it feels warmer to fill my home with pictures of friends and family and paintings of places I've gone. That's what I want to come home to.
The paintings may communicate even better because people are lazy and they can look at a painting with less effort than they can read a poem.
The paintings usually start as abstracts and then I look at them and look at them, and like a Rorschach test, I try and see what it is.
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.
I see paintings everywhere. I look at stuff and it looks like painting to me.
I make paintings, try to get others to look at them and hopefully buy them.
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