A Quote by Marcel Duchamp

Things were sort of Bohemian in Montmartre - one lived, one painted, one was a painter - all that doesn't mean anything, fundamentally. — © Marcel Duchamp
Things were sort of Bohemian in Montmartre - one lived, one painted, one was a painter - all that doesn't mean anything, fundamentally.
Albert Durer, the famous painter, used to say he had no pleasure in pictures that were painted with many colors, but in those which were painted with a choice simplicity. So it is with me as to sermons.
One of the things about Derek Jarman was that he was a painter who worked alone when he painted, but I firmly believe that one of the reasons he made films was for the company. He made filmmakers of all of us, that's the truth. I don't mean he necessarily made directors, but he made us filmmakers. Because we lived in a state of mutual responsibility for what we made.
And I started with this: I have not painted at all my childhood. In fact, I never painted. But I helped my father who was a house painter and decorative painter. He made stage sets, he made glass paintings, he made everything.
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.
'Sort of' is such a harmless thing to say... sort of. It's just a filler. Sort of... it doesn't really mean anything. But after certain things, sort of means everything. Like... after "I love you"... or "You're going to live."
I loved my parents. There were never any rows. It was a sort of artistic, bohemian upbringing.
If all the qualities which a painter took from the model for his picture were really taken, no person could be painted twice.
I sort of feel that the role of a portrait in society is to represent the sitters, we see paintings of Shakespeare and we believe that it is what he looked like, well maybe a little older, fatter and with a higher hairline. I guess it would be cool if the portraits that were painted really did look like the sitter or expressed some sort of emotion that gave the viewers in the future a sense of the sitter's pathos at the time it was painted.
I was always with a single mom, and we never had schedules or anything. We were just Bohemian, us against the world, which was kind of great, but it certainly didn't breed security. I've gotten hyper-sensitive to schedules and bath time and eating at the dinner table. We don't just 'Bohemian' go out at nine o'clock and go get Chinese food.
It was my mom and I against the world. We lived in New York in this bohemian lifestyle where an extended group of artists and photographers were like my aunts and uncles.
I was trying to put myself in a bottle that would one day wash up on the beach for my children. If I were a painter, I would have painted for them. If I were a musician, I would have composed music. But I am a lecturer. So I lectured.
I've noticed that wherever I've lived, I've either painted murals or done something sort of ridiculously over the top to make a space my own.
There is nothing more difficult for a truly creative painter than to paint a rose, because before he can do so he has first to forget all the roses that were ever painted.
every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself.
Art always used to involve spirit. Painters painted spirit. They painted by commission things to go into churches, and that was painting spirit. Or they would paint people of wealth, and they would try to show how they had power, and again, this is sort of spirit.
My paintings are about light, about the way things look in their environment and especially about how things look painted. Form, colour and space are at the whim of reality, their discovery and organization is the assignment of the realist painter.
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