A Quote by Barnett Newman

I prefer to leave the paintings to speak for themselves. — © Barnett Newman
I prefer to leave the paintings to speak for themselves.
Characters on stage, like people in what we refer to as "real life," do not speak to reveal themselves. They do not speak to conceal themselves. They speak to get whatever it is that they want. It is the only reason they speak.
Some players don't like to speak to the media or prefer to talk on live television so people can hear for themselves what is said, in real time.
The thing about animals that speaks to me so much is that my passion for the animals and against animal abuse is based on the knowledge that these creatures which think and feel can't speak for themselves. I feel it is my responsibility to speak for those who can't speak for themselves.
The spot paintings and spin paintings were trying to find mechanical ways to make paintings.
If people leave the house wanting to see a comedian, they want to see someone speak out for themselves and share true stories from their life.
I prefer to stay in my country. But this doesn't mean if someone does want to leave Iran, I think they've done something wrong - the desire to leave is completely understandable.
Unlike the background in many of the paintings that I was inspired by or paintings that I borrowed poses from - the great European paintings of the past - the background in my work does not play a passive role.
I would prefer to just continue to speak about truth and to speak about what makes sense.
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'm expressing the feelings of mankind today through the Blue Dog. The dog is always having problems of the heart, of growing up, the problems of life. The dog looks at us and asks, 'Why am I here? What am I doing? Where am I going?' Those are the same questions we ask ourselves. People look at the paintings, and the paintings speak back to them.
Prefer the familiar word to the far-fetched. Prefer the concrete word to the abstract. Prefer the single word to the circumlocution. Prefer the short word to the long. Prefer the Saxon word to the Romance.
People are still making paintings. People are still enjoying paintings, looking at paintings. Paintings still have something to tell us. There's a way of being in the world that painting brings to us, that painters bring to the task that we absorb and are able to be in dialogue with. That's something that's part of us.
Gerti didn’t ask for help.” Miri swallowed and tried to calm her quavering voice. “It was my fault.” “So it was. Now you all have learned that those who speak out of turn choose punishment for themselves and anyone they speak to.” “So if I speak to you, Tutor Olana, will you get the lashes?
I don't paint over my paintings with black paint. I paint black paintings. It isn't because I'm sad, just as I didn't paint red paintings yesterday because I was happy. Nor will I paint yellow paintings tomorrow because I'm jealous.
Not infrequently, we encounter copies of important human beings; and here, too, as in the case of paintings, most people prefer the copies to the originals.
I enjoy thinking about how paintings can change depending on where they are - how they look in a gallery or in relation to other paintings, or in different rooms. Paintings can change the way we experience and see the world.
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