A Quote by Joseph Raffael

The older I get, the more I feel that color is what painting is. Painting is primarily color. — © Joseph Raffael
The older I get, the more I feel that color is what painting is. Painting is primarily color.

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Painting is drawing, with the additional means of color. Painting without drawing is just 'coloriness,' color excitement. To think of color for color's sake is like thinking of sound for sound's sake. Color is like music. The palette is an instrument that can be orchestrated to build form.
I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.
Color is a language. It is the language of painting. How painting expresses itself is in large part with color.
A color which would be 'dirty' if it were the color of a wall, needn't be so in a 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.
All painting - the painting of the past as well as of the present - shows us that its essential plastic means were only line and color.
There is a kinship between music and painting - with the same words used to describe both, as when a musical composition is said to have color and a painting to have rhythm.
There are people who don't respond to color. That's what painting is. It's color.
With all its variety and liveliness, color acts in the work of art as blood does as it circulates through our bodies. Color is what keeps the painting alive and moving.
I like to write about painting because I think visually. I see my writing as blocks of color before it forms itself. I think I also care about painting because I'm not musical. Painting to me is not a metaphor for writing, but something people do that can never be reduced to words.
Is there in painting an effect which arises from the being together of repose and energy in the artist's mind? - can both repose and energy be seen in a painting's line and color, plane and volume, surface and depth, detail and composition? - and is the true effect of a good painting on the spectator one that makes at once for repose and energy, calmness and intensity, serenity and stir?
For many years, I have been moved by the blue at the far edge of what can be seen, that color of horizons, of remote mountain ranges, of anything far away. The color of that distance is the color of an emotion, the color of solitude and of desire, the color of there seen from here, the color of where you are not. And the color of where you can never go.
Color is one of the great things in the world that makes life worth living to me and as I have come to think of painting it is my efforts to create an equivalent with paint color for the world, life as I see it.
Color is crucial in painting, but it is very hard to talk about. There is almost nothing you can say that holds up as a generalization, because it depends on too many factors: size, modulation, the rest of the field, a certain consistency that color has with forms, and the statement you're trying to make.
I know for sure that I have an instinct for color, and that it will come to me more and more, that painting is in the very marrow of my bones.
I'm always trying to get to a danger point in color, where color either becomes too sweet or it becomes too harsh, it becomes too noisy or too quiet, and at that point I still want the picture to be strong, forceful, and the carrier of everything that a painting has to have: contrast, drama, austerity.
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