A Quote by Fernando Botero

When you start a painting, it is somewhat outside you. At the conclusion, you seem to move inside the painting. — © Fernando Botero
When you start a painting, it is somewhat outside you. At the conclusion, you seem to move inside the painting.
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 reduced painting to its logical conclusion and exhibited three canvases: red, blue, and yellow. I affirmed: this is the end of painting.
The first hope of a painter who feels hopeful about painting is the hope that the painting will move, that it will live outside its frame.
Painting should educate and enrich. Modern painting merely offers a split-second emotion: You see it, you have an instant reaction and move on. Instead, real painting can be looked at over and over again and each time it has something new.
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.
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
I learned a lot of painting tricks painting outside.
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.
Usually people start with painting and then go on to make installations; my painting came from installation.
What most paintings do is give you a path for your eye to move around. The painting actually tells your eye, go here, now go here, now go here, go here. So all you have to do is look at it, give it a few seconds, and your eye will start to move through the painting.
What comes from outside, one mistakes it as coming from inside. So many thoughts etc. move about outside in the universal - these manifest inside you. All these you must push away as foreign to you and the inside must be made peaceful, calm and quiet; then it will start descending from above.
The coming and going of birth and death is a painting. Unsurpassed enlightenment is a painting. The entire phenomenal universe and the empty sky are nothing but a painting.
I love art so much because of curiosity. At the start of a painting, I know 10 percent of what the painting will be, and then I have to improvise the whole thing.
When I get my hands on painting materials I don't give a damn about other people's painting... every generation must start again afresh.
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