A Quote by Georges Braque

The painting is finished when the idea has disappeared. — © Georges Braque
The painting is finished when the idea has disappeared.
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.
Each painting has its own way of evolving. When the painting is finished, the subject reveals itself.
A painting is finished when the artist says it is finished.
I always work out of uncertainty but when a painting's finished it becomes a fixed idea, apparently a final statement. In time though, uncertainty returns.. your thought process goes on.
I always work out of uncertainty but when a painting's finished it becomes a fixed idea, apparently a final statement. In time though, uncertainty returns... your thought process goes on.
When I was painting in art school - and I think many painters in the 1980s worked similarly - a finished painting would often be constructed from lots of other paintings underneath. Some of these individual layers of painting were better than others, but that was something that you would often only realise retrospectively.
A picture is finished when all trace of the means used to bring about the end has disappeared.
A painting is finished when the subject comes back, when what has caused the painting to be made comes back as an object.
I consider my painting finished when my eyes goes to a particular spot on the canvas. But if I put the picture away about thirty feet on the wall and the movements keep returning to me and the eye seems to be responding to something living, then it is finished.
The idea of an isolated American painting , so popular in this country during the thirties, seems absurd to me, just as the idea of a purely American mathematics or physics would seem absurd... And in another sense, the problem doesn't exist at all; or, if it did, would solve itself: An American is an American and his painting would naturally be qualified by the fact, whether he wills or not. But the basic problems of contemporary painting are independent of any one country.
I'm painting an idea not an ideal. Basically I'm trying to paint a structured painting full of controlled, and therefore potent, emotion.
The artist has the power to signoff the work by deconstructing the work itself: I've finished this work now and I'll sign it and relegate the painting to simply something that services my signature. The painting becomes the colorful backdrop of the signature.
It's absolutely of no importance who or what V was under the mask. He isn't a who or a what, he's an idea. The thing is, you couldn't continue it. Now and then the idea of a sequel has been raised, in vague forms, but I think it would be a bad idea. The story's finished.
The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.
The painting is usually finished before you are.
In every painting, as in any other work of art, there is always an IDEA, never a STORY. The idea is the point of departure, the first cause of the plastic construction, and it is always present all the time as energy creating matter. The stories and other literary associations exist only in the mind of the spectator, the painting acting as the stimulus.
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