A Quote by Guido Molinari

I'm interested in the movement of the eyes across the painting. — © Guido Molinari
I'm interested in the movement of the eyes across the painting.
Painting from life was incredibly important for me because it allowed me to train my eyes to see everything that is there. But I realized early on that painting from life wasn't something that I was all that invested in. I was always more interested in the painting than I was the people. For me, removing that as a compulsion offered me a lot more freedom to actually paint and think about color, form, movement, and light.
I wasn't interested in sport or anything obvious, so I didn't stand out. I was interested in music, but I couldn't read music, so I wasn't allowed to do the GCSE. I was interested in painting, but no one's interested in a 16-year-old boy who's interested in painting. I wanted to get out of school very, very quickly.
I'm never interested in the painting being a mirror to culture. I think that's really boring. What I'm interested in is painting as an affective space. The place where the hierarchies of the world can be rearranged within the space of a painting. And they can be articulated in different ways.
I'm not particularly interested in painting, per se. I'm interested in a painting that has that mysterious life to it. Anything that doesn't partake of that magic is halfway dead - it returns to its physical elements, it's just paint and canvas.
I'm not interested in painting; I'm not interested in making a picture. Then what the hell am I interested in? I must be interested in this process.
In less than a century we experienced great movement. The youth movement! The labor movement! The civil rights movement! The peace movement! The solidarity movement! The women's movement! The disability movement! The disarmament movement! The gay rights movement! The environmental movement! Movement! Transformation! Is there any reason to believe we are done?
I needed an outlet in high school and came across painting. I've actually been painting longer than I've been acting. A movie is a collaborative effort, and with painting you just have yourself.
Across the San Joaquin Valley, across California, across the entire Southwest of the United States, wherever there are Mexican people, wherever there are farm workers, our movement is spreading like flames across a dry plain.
One learns about painting by looking at and imitating other painters. I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting.
There is movement and movement. There are movements of small tension and movements of great tension and there is also a movement which our eyes cannot catch although it can be felt. In art this state is called dynamic movement.
Photography is nature seen from the eyes outward, painting from the eyes inward. Photography records inalterably the single image, while painting records a plurality of images willfully directed by the artist.
Positive psychology is both a movement and a science. The movement involves absolutely anyone who is interested in evidence-based approaches to improving well-being, either for themselves or for their community. I invite you to join this movement!
I'm not interested in a group of people with some sort of incredible homogeny,a group that can do the movement I want. I'm interested in people whocan take the movement somewhere.
Futurists wanted to suggest movement by means of a dynamic painting; Duchamp applies the notion of delay - or, rather, or analysis - to movement.
In figure painting, the type of all painting, I have endeavoured to set forth that the principal if not sole source of life enchantments are Tactile Values, Movement and Space Composition.
In college, I got interested in news because the world was coming apart. The civil rights movement, the antiwar movement, the women's right movement. That focused my radio ambitions toward news.
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