A Quote by Madonna Ciccone
I get strength from my art - all the paintings I own are powerful.
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If you look at the paintings that I love in art history, these are the paintings where great, powerful men are being celebrated on the big walls of museums throughout the world. What feels really strange is not to be able to see a reflection of myself in that world.
The earliest paintings I loved were always the most non-referential paintings you can imagine, by painters such as Mondrian. I was thrilled by them because they didn't refer to anything else. They stood alone, and they were just charged magic objects that did not get their strength from being connected to anything else.
Even the most powerful human being has a limited sphere of strength. Draw him outside of that sphere and into your own, and his strength will dissipate.
The paintings in our galleries are seen one day in bright sunshine and another day in the dim light of a rainy afternoon, yet they remain the same paintings, ever faithful, ever convincing. To a marvelous extent they carry their own light within. For their truth is not that of a perfect replica, it is the truth of art.
The strength required for the vision of the most powerful reality is not only compatible with the most powerful strength for action, for monstrous action, for crime - it even presupposes it.
Art comes from art: I remember going to the Matisse show and seeing how Matisse had taken one of his own paintings, worked from it and transformed it, and that had led on to the next one and the next.
I love painters because I don't paint, so I get to enjoy art; I like collecting paintings.
The more I've gotten interested in writing about history and making sense of myself within the continuum of history, the more I've turned to paintings, to art. I look to the imagery of art to help me understand something about my own place in the world.
Being a creative person, I'm naturally drawn towards art of any kind. But I'm more attracted to paintings because they radiate an aura of their own.
And pity--people who inspire it in you are actually very powerful people. To get someone else to take care of you, to feel sorry for you--that takes a lot of strength, smarts, manipulation. Very powerful people.
The paintings of Francis Bacon to my eye are very beautiful. The paintings of Bosch or Goya are to my eye very beautiful. I've also stood in front of those same paintings with people who've said, 'let's get on to the Botticellis as soon as possible.' I have lingered, of course.
I like when people have opinions - especially about art. You can hate my art. I made my art to be hated. That's why I made the name paintings.
The art of using troops is this:
......When ten to the enemy's one, surround him;
......When five times his strength, attack him;
......If double his strength, divide him;
......If equally matched you may engage him;
......If weaker numerically, be capable of withdrawing;
......And if in all respects unequal, be capable of eluding him,
..........for a small force is but booty for one more powerful.
At art school, a teacher said: 'The best paintings are when you get lost in a piece of work and start painting in a stream of consciousness.' I wanted to do music, not art, so started writing lyrics that way. The first song I wrote was called 'Ice Cream and Wafers.' The next was 'Holding Back the Years.'
I'm just really impressed by oil paintings - I don't see how people do it! That's the style I like: classic oil paintings. Abstract art just isn't my thing.
It took the Metropolitan Museum of Art nearly 50 years to wake up to Pablo Picasso. It didn't own one of his paintings until 1946, when Gertrude Stein bequeathed that indomitable quasi-Cubistic picture of herself - a portrait of the writer as a sumo Buddha - to the Met, principally because she disliked the Museum of Modern Art.
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