A Quote by John Constable
I am anxious that the world should be inclined to look to painters for information about painting. I hope to show that ours is a regularly taught profession; that it is scientific as well as poetic; that imagination alone never did, and never can, produce works that are to stand by a comparison with realities.
Related Quotes
I am anxious that the world should be inclined to look to painters for information about painting.
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.
In liberation, you stand alone. You stand alone because you need no supports of any kind. You need no supports because you have realized that the very notion of a separate you no longer exists, that there is nothing to support, that the whole ego experience was a flimsy illusion. So you stand alone but are never, never lonely because everywhere you look, all you see is That, and you are That.
Painters should shut up and paint and when we stop painting we should dance or have sex or get a massage or take a shower and we shouldn't be talking about painting.
I've known painters who never did any good work because instead of painting their models they seduced them.
The real truthfulness of all works of imagination, sculpture, painting, and written fiction, is so purely in the imagination, that the artist never seeks to represent positive truth, but the idealized image of a truth
A global society is coming into being, a global society that is made out of information that was not intended to be ours, but is ours, by the mistaken invention of computers and the printing press, information is power, and information has spilled by the clumsy hands of the dominator culture so that the information is everywhere, never before has the situation been so fluid, we might be able to finally have a crack at this
When you talk about painters and you talk about painters painting masterpieces, there is no painter who painted only one painting and that was a masterpiece. You have to do a whole bunch of paintings to get to the place of mastering your craft.
DAISY: I never knew you were such a realist-I thought you were more poetic. Where's your imagination? There are many sides to reality. Choose the one that's best for you. Escape into the world of imagination.
I am more famed in Heaven for my works than I could well conceive. In my brain are studies & chambers filled with books & pictures of old, which I wrote and painted in ages of Eternity before my mortal life; and whose works are the delight & study of Archangels. Why, then, should I be anxious about the riches or fame of mortality?
Painting is so poetic, while sculpture is more logical and scientific and makes you worry about gravity.
For me the problem of induction is a problem about the world: a problem of how we, as we are now (by our present scientific lights), in a world we never made, should stand better than random, or coin-tossing chances changes of coming out right when we predict by inductions. . . .
I am not alone at all, I thought. I was never alone at all. And that, of course, is the message of Christmas. We are never alone. Not when the night is darkest, the wind coldest, the world seemingly most indifferent. For this is still the time God chooses.
A lot of young painters love to incorporate celebrity. One idea of being a painter is to use what's happening at the time. Velázquez was painting of his time. And so was Rembrandt. And Francis Bacon was painting his time in London. He was a real mover, but he saw the insect in the rose. But yes, when I do a painting, I want to take the "I did this" out of it. That's why I started using chance, like the markings on the wood. I never wanted to compose.
I can never stand still. I must explore and experiment. I am never satisfied with my work. I resent the limitations of my own imagination.
Chance never writ a legible book; chance never built a fair house; chance never drew a neat picture; it never did any of these things, nor ever will; nor can it be without absurdity supposed able to do them; which yet are works very gross and rude, very easy and feasible, as it were, in comparison to the production of a flower or a tree.
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