A Quote by Lucian Freud

The painter makes real to others his innermost feelings about all that he cares for. A secret becomes known to everyone who views the picture through the intensity with which it is felt.
Reason is like an open secret that can become known to anyone at any time; it is the quiet space into which everyone can enter through his own thought
Reason is like an open secret that can become known to anyone at any time; it is the quiet space into which everyone can enter through his own thought.
Art is something given, not reproduced... the painter paints what he sees with his innermost senses, the expression of his being... for him every other impression becomes an inner expression.
The picture is all he feels about it, all he thinks worth preserving of it, all he invests it with. If all the qualities which a painter took from the model for his picture were really taken, no person could be painted twice.
Were it not for this [dissatisfaction], the perfect painting might be painted, on the completion of which the painter could retire. It is this great insufficiency that drives him on. The process of creation becomes necessary to the painter perhaps more than it is in the picture. The process is in fact habit-forming.
The painter's appreciation for beauty is more conscious, for he spends his life trying to communicate his feelings to others.
We may say that feelings have two kinds of intensity. One is the intensity of the feeling itself, by which loud sounds are distinguished from faint ones, luminous colors from dark ones, highly chromatic colors from almost neutral tints, etc. The other is the intensity of consciousness that lays hold of the feeling, which makes the ticking of a watch actually heard infinitely more vivid than a cannon shot remembered to have been heard a few minutes ago.
Composition is the art of arranging in a decorative manner the various elements which the painter uses to express his sentiments. In a picture every separate part will be visible and... everything which has no utility in the picture is for that reason harmful.
I have often felt that I would find it more complicated, troublesome and unpleasant to ascertain the feelings by which a woman lives than to plumb the innermost thoughts of an earthworm.
When an artist paints a picture he does not want you to consider his personality as represented in that picture - he wants you to look at the beauty of that picture. No one cares who has painted the picture as long as it is beautiful.
It's a saying they have, that a man has a false heart in his mouth for the world to see, another in his breast to show to his special friends and his family, and the real one, the true one, the secret one, which is never known to anyone except to himself alone, hidden only God knows where.
If one were to ask a painter what he felt about anything, his just response - though he seldom makes it - would be to paint it, and in painting, to find out.
A classic man is a distinguished man. He cares about taste and his craft. He's all about the simple model that I live by - eat, drink, be swanky, and have fun getting the job done. He makes sure that he's excellent in all things and that he cares about his neighborhood immensely.
I'm a real person that cares about his art and cares about what he's doing. I have a heart and a soul and I want to touch people and give.
Every philharmonic orchestra merely interprets the composer. My goal was to create new music by that composer. In doing so, I wanted to find the painter's creative center and become familiar with it, so that I could see through his eyes how his paintings came about and, of course, see the new picture I was painting through his eyes - before I even painted it.
I am a real person that cares about his art and cares about what he's doing - I have a heart and a soul and want to touch people and give.
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