A Quote by Wassily Kandinsky

I applied streaks and blobs of colors onto the canvas with a palette knife, and I made them sing with all the intensity I could. — © Wassily Kandinsky
I applied streaks and blobs of colors onto the canvas with a palette knife, and I made them sing with all the intensity I could.
Words in the mind are like colors on the palette of the artist. The more colors we have access to, the easier it is to create a captivating picture on the canvas, and the more practice we give to using those many colors appropriately and uniquely, the more likely we will be to create a masterpiece of self expression.
I've started to experiment [in the studio] with texturing the canvas, building up the surface with large brushes, palette knife or fingers. I want to say more in my art.
Colors live a remarkable life of their own after they have been applied to the canvas.
The colors live a remarkable life of their own after they have been applied to the canvas.
The way 'Lux' was made is that there are 12 sections in here, though two of them are joined together. So there are really 11 sections, in a sense, and each one uses five notes out of a palette of seven notes, and my palette is all the white notes on the piano. That was the original palette.
The painter's only solid ground is the palette and colors, but as soon as the colors achieve an illusion, they are no longer judged.
I maintain that the expression of junk and objects has an intrinsic value, and I see no need to look for aesthetic forms in them and to adapt them to the colors of the palette.
We may say that feelings have two kinds of intensity. One is the intensity of the feeling itself, by which loud sounds are distinguished from faint ones, luminous colors from dark ones, highly chromatic colors from almost neutral tints, etc. The other is the intensity of consciousness that lays hold of the feeling, which makes the ticking of a watch actually heard infinitely more vivid than a cannon shot remembered to have been heard a few minutes ago.
Radio is truly the theater of the mind. The listener constructs the sets, colors them from his own palette, and sculpts and costumes the characters who perform in them.
I'm often asked by younger filmmakers, 'Why do I need to look at old movies?' I've made a number of pictures in the last 20 years and the response I have to give them is that I still consider myself a student. The more pictures I've made in 20 years, the more I realize I really don't know. And I'm always looking for something or someone that I could learn from. I tell the younger filmmakers, and the young students, that do it like painters used to do—that painters do—study the old masters, enrich your palette, expand the canvas. There's always so much more to learn.
Watch a French housewife as she makes her way slowly along the loaded stalls... searching for the peak of ripeness and flavor... What you are seeing is a true artist at work, patiently assembling all the materials of her craft, just as the painter squeezes oil colors onto his palette ready to create a masterpiece.
This is about relationships, about the placement of potent colors and the canvas sparkling through. I want the eye to dance across the canvas but direct you, too.
Only the series of colors on the canvas with all their power and vibrancy could, in combination with each other, render the chromatic feeling of that landscape.
I'm not a young man, and I can find intensity in a lot of different ways, sometimes without even raising my voice. When I was younger, it was all about how I need three extra sets of lungs to get enough wind to get out the thing at the screaming level I need to, because that's the way it needs to be. Now, I see that there's a whole lot of other colors on the palette.
My days could be described as an ever changing palette of blues, greens, browns, and golds. Mostly because of surfing and garden-gazing. On tour, the colors are desaturated by florescent lights and dull grey carpets.
Writing the songs and producing the songs and arranging them and recording them is your canvas and your palette and your brush.
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