A Quote by Kimon Nicolaides

You are not to think of painting as something separate from drawing. — © Kimon Nicolaides
You are not to think of painting as something separate from drawing.
One drawing demands to become a painting, so I start to work on that, and then the painting might demand something else. Then the painting might say, 'I want a companion, and the companion should be like this,' so I have to find that, either by drawing it myself or locating the image.
But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.
In fact, I believe to a certain extent a person today who starts with just clay, with no drawing and no painting and no figure drawing, still-life drawing, various things, they miss a great deal.
It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one.
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 liked drawing and painting, because the only failure would be to listen to the doubters who wanted me to stop drawing and painting because 'you aren't going to make a living doing that.' I liked looking in art books at the work of painters.
I'm starting to develop my practice, learning how to come home after a really long day of shooting and letting myself breathe. I'm drawing and painting and listening to my music and keeping those things separate.
In drawing after drawing, pastel after pastel, painting after painting, the contours of Degas's dancing figures become, at a certain point, darkly insistent, tangled and dusky. It may be around an elbow, a heel, an armpit, a calf muscle, the nape of a neck.
Not even pencil or charcoal is needed. Drawing can also be done with a brush. But drawing is a must, if not, no painting can resist.
Drawing includes three and a half quarters of the content of painting... Drawing contains everything, except the hue
I went to the Chicago Art Institute, which was the best painting school in the area at that time. And I took painting classes - basic elementary painting classes and drawing classes of all sorts.
To draw does not simply mean to reproduce contours; the drawing does not simply consist in the idea: the drawing is even the expression, the interior form, the plan, the model. Look what remains after that! The drawing is three fourths and a half of what constitutes painting. If I had to put a sign over my door to the atelier, I would write: School of drawing, and I'm certain that I would create painters.
I would always be painting and drawing. If I was stuck at home, I was in the basement working on a painting.
Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything.. ..A convent, a monastery, a phalanstery of painting where one could train together.. ..but no programme, no instruction in painting.. ..drawing is still alright, it doesn't count, but painting - the way to learn is to look at the masters, above all at nature, and to watch other people painting.
I think the most important thing you can do is to keep drawing no matter what. And to not be afraid of drawing whatever interests you. If there is something that you want to draw, to make, then I think you should pursue it and not let anybody tell you that you can't do it.
All I care about these days is painting — photography has never been more than a way into painting, a sort of instant drawing.
This site uses cookies to ensure you get the best experience. More info...
Got it!