A Quote by Gerhard Richter
I've never found anything to be lacking in a blurry canvas. Quite the contrary: you can see many more things in it than in a sharply focused image. A landscape painted with exactness forces you to see a determined number of clearly differentiated trees, while in a blurry canvas you can perceive as many trees as you want. The painting is more open.
Related Quotes
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.
The narrative image has more dimensions than the painted image - literature is more complex than painting. Initially, this complexity represents a disadvantage, because the reader has to concentrate much more than when they're looking at a canvas. It gives the author, on the other hand, the opportunity to feel like a creator: they can offer their readers a world in which there's room for everyone, as every reader has their own reading and vision.
Just slap anything on when you see a blank canvas staring you in the face like some imbecile. You don't know how paralyzing that is, that stare of a blank canvas is, which says to the painter, ‘You can't do a thing’. The canvas has an idiotic stare and mesmerizes some painters so much that they turn into idiots themselves. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of `you can't' once and for all.
I always get into arguments with people who want to retain the old values in painting - the humanistic values that they always find on the canvas. If you pin them down, they always end up asserting that there is something there besides the paint on the canvas. My painting is based on the fact that only what can be seen there is there... What you see is what you see.
Chimpanzees, more than any other living creature, have helped us to understand that there is no sharp line between humans and the rest of the animal kingdom. It's a very blurry line, and it's getting more blurry all the time.
... a canvas that I have covered is worth more than a blank canvas. My pretensions go no further; that is my right to paint, my reason for painting.
When we read a book, we have a blurry image that's kind of physical but blurry. But we have an emotional image also. We have an emotional connection to the character.
We all travel the milky way together, trees and men; but it never occurred to me until this storm-day, while swinging in the wind, that trees are travelers in the ordinary sense. They make many journeys, not extensive ones, it is true; but our own little journeys, away and back again, are only little more than tree-wavings - many of them not so much.
I was always interested in language. I thought, why not? If a painting, by the normal definition of the term, is paint on canvas, why can't it be painted words on canvas?
No one would want to pay a penny for an empty canvas by me. But it would be quite another if the empty canvas were signed by a great artist. I would be surprised if an empty canvas by Picasso or Matisse signed and inscribed with the words, 'I wanted to paint such and such on this canvas, but did not do so,' would not fetch thousands... After all, with an empty canvas, the possibilities are limitless, and so perhaps is the cash.
When Robert Bly visited Interlochen Center for the Arts so many years ago, he spoke to the creative writing majors and said, "The eye reports to the brain, but the ear reports to the heart." Perhaps this is the thing that musicians can do that writers can't ever, quite, but it is what I aspire to, that sense/power of the auditory, and the belief that to hear more clearly is to see more clearly, and that to see more clearly is to feel more deeply.
But, say you, surely there is nothing easier than for me to imagine trees, for instance, in a park [. . .] and nobody by to perceive them. [...] The objects of sense exist only when they are perceived; the trees therefore are in the garden [. . .] no longer than while there is somebody by to perceive them.
I never knew how soothing trees are-many trees and patches of open sunlight, and tree presences; it is almost like having another being.
Contrary to the royal and uptight image of polo, I want to bring it to a younger generation. This is a great sport that can have a larger audience and appeal to more people. Sportsmanship is lacking in many other sports that I don't want to name.
Subject becoming less relevant, each painting having a life of its own, each stroke leading to the next. It is more about the connection of body and spirit to canvas, over mind to canvas.
I believe that there are many herbs and many trees that are worth much in Europe for dyes and for medicines; but I do not know, and this causes me great sorrow. Arriving at this cape, I found the smell of the trees and flowers so delicious that it seemed the pleasantest thing in the world.
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