A Quote by Claude Monet
I've done what I could as a painter and that seems to me to be sufficient. I don't want to be compared to the great masters of the past, and my painting is open to criticism; that's enough.
Related Quotes
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.
I do have great respect for painting, but I am definitely not a painter. I make drawings of paintings, and I'm jealous of painting for sure, but, for me, the paper gives my work a limit.
Were it not for this [dissatisfaction], the perfect painting might be painted, on the completion of which the painter could retire. It is this great insufficiency that drives him on. The process of creation becomes necessary to the painter perhaps more than it is in the picture. The process is in fact habit-forming.
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.
I never want to abandon my roots. I want to give my past and the history of painting the importance it deserves, including the masters like Rembrandt, who built up the surface of the canvas with transparent layers.
Sometimes you need to live with a painting for a while. Starting a painting can be easy, but finishing it... that's the skill of the painter, how you finally know when it's done.
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.
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.
There is no difficulty that enough love will not conquer: no disease that love will not heal: no door that enough love will not open...It makes no difference how deep set the trouble: how hopeless the outlook: how muddled the tangle: how great the mistake. A sufficient realization of love will dissolve it all. If only you could love enough you would be the happiest and most powerful being in the world.
Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything.. ..A convent, a monastery, a phalanstery of painting where one could train together.. ..but no programme, no instruction in painting.. ..drawing is still alright, it doesn't count, but painting - the way to learn is to look at the masters, above all at nature, and to watch other people painting.
Nineteen people flew into the towers. It seems hard for me to imagine that we could go to war enough to make the world safe enough that nineteen people wouldn't want to do harm to us. So it seems like we have to rethink a strategy that is less military-based.
Well, I'm a painter, I was trained as a painter. I seem to have spent a little less time painting than I might've done. But it didn't transcend the feeling of playing at UFO and those sort of places with the lights and that, the fact that the group was getting bigger and bigger.
People say that you want to be varied in your career, and I've done so many things and am very appreciative. But, the one thing I've never done and wanted to do was to be a regular on a TV show, where you get 22 weeks of the year to develop and play a character. I've done arcs of five or eight episodes on shows, but I'd like to have a character that's rich enough and deep enough to want to explore and live with for a few years. Playing the same character, but doing different scenes seems very exciting to me.
If you look at a painting that you love by one of the great masters, every time you go back to it, you see something different - a different attitude or brushstroke. 'Hamlet' is like an entire gallery of old masters.
Painting to me is constant searching. I can see what I want, but I can't get there, and yet you have to be open enough that if it goes another way, then let it go that way.
If a painting of mine suits me, it is right. If it does not please me, I care not if all the great masters should approve it or the dealers buy it. They would be wrong.
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