A Quote by Charles Saatchi

Nothing is as uplifting as standing before a great painting whether it was painted in 1505 or last Tuesday. — © Charles Saatchi
Nothing is as uplifting as standing before a great painting whether it was painted in 1505 or last Tuesday.
While contemplating the bride, and eyeing the cake of soap, he muttered between his teeth: 'Tuesday. It was not Tuesday. Was it Tuesday? Perhaps it was Tuesday. Yes, it was Tuesday.' No one has ever discovered to what this monologue referred. Yes, perchance, this monologue had some connection with the last occasion on which he had dined, three days before, for it was now Friday.
I've painted in the past, but I only average about one painting a year, and the last painting I did, I actually really liked.
But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.
In a painting, you can't make out whether the artist painted the left eye before the right eye. In Chinese calligraphy, you can see the progression of the artist's stroke.
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.
My paintings have gotten to be pretty popular and I've taken a little bit more interest in painting the last few years. In fact, my novel that I wrote not too long ago, 'The Hornet's Nest,' I painted the cover picture for it and I do a good bit of painting now.
You know, the way art history is taught, often there's nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.
For example, in one of my last exhibitions I had a 50-foot massive painting with I think perhaps a hundred thousand hand-painted small flowers. This was the Christ painting [The Dead Christ in the Tomb, 2008] in my Down exhibition [2008]. Now, I simply can't spend eight hours a day painting small, identical flowers. And so I've got a team that allows me to have these grand, sweeping statements.
I was blown away by the standing ovation. I've had tributes before, sure, but I don't retain that feeling, and I wasn't prepared for it on Tuesday. But maybe you shouldn't retain these things or you'd be on a permanent high.
Good painting is nothing else but a copy of the perfections of God and a reminder of His painting. Finally, good painting is a music and a melody which intellect only can appreciate, and with great difficulty.
All works, no matter what or by whom painted, are nothing but bagatelles and childish trifles... unless they are made and painted from life, and there can be nothing... better than to follow nature.
The Academies of Art are nothing but great painting factories - those with talent are fed in at one end, and they come out as mechanical painting machines.
The work that I engage with, whether it's self-generated or collaborative, is uplifting and supporting historically marginalized and disenfranchised people, because when I uplift up those groups, I'm uplifting myself and supporting myself - it works out in that way.
I believe all painting and art should be uplifting for the viewer.
I went to art school, and every Tuesday and Friday we drew the nude. If you look at Western painting, male and female nudes are in the center of every painting. It's difficult and exciting to draw the nude. Why get so upset about this? It's our duty to break taboos.
The interesting thing about this is I don't know what my vision [ in Salome the play and Salomaybe] is yet about. I'm sensing something and I'm going along with it. It reminds me of a painting, the way Jackson Pollack painted - Jackson Pollack, the great, great artist.
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