A Quote by Beth Orton

I want it to be more universal than that - like a painter doesn't have to explain his life story away to justify his painting. — © Beth Orton
I want it to be more universal than that - like a painter doesn't have to explain his life story away to justify his painting.
Everyone in their life has his own particular way of expressing life's purpose - the lawyer his eloquence, the painter his palette, and the man of letters his pen from which the quick words of his story flow. I have my bicycle.
A lot of young painters love to incorporate celebrity. One idea of being a painter is to use what's happening at the time. Velázquez was painting of his time. And so was Rembrandt. And Francis Bacon was painting his time in London. He was a real mover, but he saw the insect in the rose. But yes, when I do a painting, I want to take the "I did this" out of it. That's why I started using chance, like the markings on the wood. I never wanted to compose.
It is an intimately communicative affair between the painter and his painting, a conversation back and forth, the painting telling the painter even as it receives its shape and form.
Strange story about Degas. He hated women, didn't want to be with them. Yet he spent much of his life painting them. He had seen his father maltreat his mother, must have had a deep fear that he'd do the same thing.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting. Like finding some imaginary computer painter, or a robot who paints.
Here's a strange fact: murder a man, and you feel responsible for his life - ''possessive'', even. You know more about him than his father and mother; they knew his fetus, but you know his corpse. Only you can complete the story of his life, only you know why his body has to be pushed into the fire before its time, and why his toes curl up and fight for another hour on earth.
We look at a painting to know the painter; it's his company we are after, not his skill.
Egon Schiele is my favorite painter. There's just something about art - photography, painting, music, plays - whatever you see, sometimes there's a gut reaction that's more important or more visceral than what your brain is thinking about. You can't explain that reaction. It's like what happens when you fall in love.
None has more frequent conversations with a disagreeable self than the man of pleasure; his enthusiasms are but few and transient; his appetites, like angry creditors, are continually making fruitless demands for what he is unable to pay; and the greater his former pleasures, the more strong his regret, the more impatient his expectations. A life of pleasure is, therefore, the most unpleasing life.
The greater the scientist, the more he is impressed with his ignorance of reality, and the more he realizes that his laws and labels, descriptions and definitions, are the products of his own thought. They help him to use the world for purposes of his own devising rather than understand and explain it.
It is not sufficient merely to be a great master in painting and very wise, but I think that it is necessary for the painter to be very moral in his mode of life, or even, if such were possible, a saint, so that the Holy Spirit may inspire his intellect.
Before a painter puts a brush to his canvas, he sees his picture mentally.... If you think of yourself in terms of a painting, what do you see?... Is the picture one you think worth painting?... You create yourself in the image you hold in your mind.
I never consciously said, 'I want to be an actor.' It sounds stupid, but it's kind of like being a painter or something. You don't say, 'From today on I'm going to be a painter.' It's not something conscious - you've just been painting pictures all your life.
You can be sure that a painter reveals himself in his work as much as and more than a writer does in his.
An actor must interpret life, and in order to do so must be willing to accept all the experiences life has to offer. In fact, he must seek out more of life than life puts at his feet. In the short span of his lifetime, an actor must learn all there is to know, experience all there is to experience, or approach that state as closely as possible. He must be superhuman in his efforts to store away in the core of his subconscious everything that he might be called upon to use in the expression of his art.
The painter's appreciation for beauty is more conscious, for he spends his life trying to communicate his feelings to others.
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