A Quote by Claude Monet

I would advise young artists to paint as they can, as long as they can, without being afraid of painting badly. — © Claude Monet
I would advise young artists to paint as they can, as long as they can, without being afraid of painting badly.
It does not matter how badly you paint so long as you don't paint badly like other people.
If you do things, whether it's acting or music or painting, do it without fear - that's my philosophy. Because nobody can arrest you and put you in jail if you paint badly, so there's nothing to lose.
I know artists whose medium is life itself, and who express the inexpressible without brush, pencil, chisel or guitar. They neither paint nor dance. Their medium is Being. Whatever their hand touches has increased life.... They are the artists of being alive.
My sister-in-law is a painter, and I'll say, how long did it take you to paint that painting. She'll say, It took me maybe three days, but it took me all my life to get the skills to paint that painting.
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.
I don't think it's necessary for artists to have any formal training in painting or art history, but I do think it's essential to continually experiment with different subject matter, types of paint and methods of painting.
In my experience a painting is not made with colors and paint at all. I don't know what a painting is; who knows what sets off even the desire to paint?
Manet wanted one day to paint my wife and children. Renoir was there. He took a canvas and began painting them, too. After a while, Manet took me aside and whispered, 'You're on very good terms with Renoir and take an interest in his future - do advise him to give up painting! You can see for yourself that it's not his metier at all.
I would have conversations with European artists. Meaning, people look at my painting and one person would say, "Oh, your painting is just like so-and-so!" Another person would say, "It's just like so-and-so." But at the end, it's a chain of relay like a marathon. There are so many so-and-so's that eventually it becomes mine. My dialogue was completely European, with the '40s, '50s, '60s artists, but on the exterior side I do big painting. It's post-Pollock. It's current. It's a meeting of the time. The Chinese side just comes out.
Pablo Picasso would paint a painting and hang it on the wall, and you would go and see the painting exactly how he wanted it to be made. But if you have an idea for a TV show, for example, you're beholden to studios to produce it and distributors to distribute it.
Insecurity prevents young artists from 'flying' and older artists from being 'down to earth.' Young artists should work on their confidence and the older ones on their humility.
Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind.
I would advise young aspiring theater artists to do as many shows as possible. It doesn't matter if it's in the basement of a church, in school, or in community theater. Do them wherever you can; big parts or small, it doesn't matter.
We're just afraid, period. Our fear is free-floating. We're afraid this isn't the right relationship or we're afraid it is. We're afraid they won't like us or we're afraid they will. We're afraid of failure or we're afraid of success. We're afraid of dying young or we're afraid of growing old. We're more afraid of life than we are of death.
There’s something to be said for being young and needing someone so badly that you jump in headfirst without looking.
Not every painter has a gift for painting, in fact, many painters are disappointed when they meet with difficulties in art. Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind. The painter must always seek the essence of things, always represent the essential characteristics and emotions of the person he is painting.
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