A Quote by Jean-Luc Godard
Even with painting, even abstract paintings, you need the incoming of, light on the canvas.
Related Quotes
I guess I have no motivation to make an abstract painting, even if they sometimes read as abstract. I think, with abstraction, it's easy to fall into a sort of pastiche.
When I started to do these Pop paintings seriously, I used all these other paintings - the abstract ones - as mats. I was painting in the bedroom, and I put them on the floor so I wouldn't get paint on the floor. They got destroyed.
When I see people making 'abstract' painting, I think it's just a dialogue and a dialogue isn't enough. That is to say, there is you painting and this canvas. I think there has to be a third thing; it has to be a trialogue.
An abstract painting need in 50 years by no means look "abstract" any longer.
I think... it is somehow very useful, and maybe even essential, for a fine artist to have to somehow make his peace on the canvas with all the things he cannot do. That is what attracts us to serious paintings, I think: that shortfall, which we might call 'personality,' or maybe even 'pain.'
You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.
When you make a painting, even abstract, there is always a sort of necessary filling-in.
Great paintings have gradations, large and small... They serve to lift the subject off the two-dimensionality of the canvas. Gradations are an essential abstract convention.
Not all paintings are abstract; they're not all Jackson Pollock. There's value in a photograph of a man alone on a boat at sea, and there is value in painting of a man alone on a boat at sea. In the painting, the painting has more freedom to express an idea, more latitude in being able to elicit certain emotion.
I'm painting the paintings that I want to see in museums. And I'm hopefully presenting them in a way that's universal enough that they become representative of something different than just a black body on a canvas.
Up until 35 I had a slightly skewed world view. I honestly believed everybody in the world wanted to make abstract paintings, and people only became lawyers and doctors and brokers and things because they couldn't make abstract paintings.
Up until 35 I had a slightly skewed world view. I honestly believed everybody in the world wanted to make abstract paintings, and people only became lawyers and doctors and brokers and things because they couldn't make abstract paintings
The paintings may communicate even better because people are lazy and they can look at a painting with less effort than they can read a poem.
When I'm not working on a children's book, I'm painting abstract paintings. That's probably the most joyous thing for me as an artist. But I do love children's books.
In abstract painting, I worried about the limited range of possibilities that, as time went on, became increasingly important to me. I wanted to express or deal with differences that an all-over paint and canvas 'presence' neutralized.
I was an abstract expressionist before I had seen any abstract expressionist paintings. I started when I was a kid and continued just doing abstract stuff all through high school.
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