A Quote by Claude Monet
I intend to do a large painting of the cliff at Etretat, although it is terribly bold of me to do so after Courbet has painted it so admirably, but I will try to do it in a different way.
Related Quotes
Painted time is a different zone. This is why I don't believe that a painting - although I've been accused of it many times now - can be truly topical. A painting's physicality gives it a different persistence and a different perception.
If, while I'm painting, I distort or destroy a motif, it is not a planned or conscious act, but rather it has a different justification: I see the motif, the way I painted it, is somehow ugly or unbearable. Then I try to follow my feelings and make it attractive. And that means a process of painting, changing or destroying - for however long it takes - until I think it has improved. And I don't demand an explanation from myself as to why this is so.
ADMIRABLY BOLD. There's something grand about the film's sincerity and the intensity of its emotions and something fresh and bold about the way director Gray uses the conventions of romantic melodrama.
I met Keith Haring at SVA college where he was having an art show, later we had a group art show at the Mud Club in NYC. Keith owed me $50, so he gave me a large framed canvas with barking dogs that had large dicks. I painted over Keith's painting to paint flowers for my mom's living room.
From building a fire one can learn something about artistic composition. If you use only small kindling and large logs, the fire will quickly eat up the small pieces but will not become strong enough to attack the large ones. You must supply a scale of sizes from the smallest to the largest. The human eye also will not make its way into a painting or building unless a continuum of shapes leads from the small to the large, from the large to the small.
In 1958 I finally found a large enough apartment on the Lower East Side, where I reverted to figure painting. I drew and painted quite a lot of figures and nudes. People would come and pose for me.
I think Dan Brown is a terribly bad writer, but he has cliff-hangers after every chapter which makes you continue reading.
Art always used to involve spirit. Painters painted spirit. They painted by commission things to go into churches, and that was painting spirit. Or they would paint people of wealth, and they would try to show how they had power, and again, this is sort of spirit.
Since Courbet, it's been believed that painting is addressed to the retina. That was everyone's error. The retinal shudder! Before, painting had other functions: it could be religious, philosophical, moral... our whole century is completely retinal, except for the Surrealists, who tried to go outside it somewhat.
I find that I have painted my life, things happening in my life - without knowing. After painting the shell and shingle many times, I did a misty landscape of the mountain across the lake,
and the mountain became the shape of the shingle - the mountain I saw out my window, the shingle on the table in my room. I did not notice that they were alike for a long time after they
were painted.
How do you top 'Mormon?' I get sent scripts all the time and I don't know what I would do next. What do you do after that? So I think if you do see me onstage, you'll see me in something dramatic, maybe, or you'll see me try my hand at something else. Perhaps fail, terribly, but try.
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.
After tea it's back to painting - a large poplar at dusk with a gathering storm. From time to time instead of this evening painting session I go bowling in one of the neighbouring villages, but not very often.
Eloquence is a painting of thought; and thus those who, after having painted it, add something more, make a picture instead of a portrait.
I think that at its best, painting can be an act of juggling perceptions, a hall of mirrors. And it can be a bit confusing and scattering. But as the artist, as the man behind the velvet rope who controls the smoke and the mirrors and the way that things move in the painted space, what I want to do is to try my best to be a good witness.
The paradox in the evolution of French painting from Courbet to Cezanne is how it was brought to the verge of abstraction in and by its very effort to transcribe visual appearance with ever greater fidelity.
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