A Quote by Max Liebermann
Whenever I see a Frans Hals, I feel the desire to paint; but when I see a Rembrandt, I want to give it up.
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Whenever I see a Frans Hals I feel like painting, but when I see a Rembrandt I feel like giving up!
People can see you on TV sloshing paint around with big four-inch brushes, and I learned to talk to camera in a friendly voice, not talking down to people, just explaining what I was doing. People like Picasso, Van Gogh, and Rembrandt did not have a weekly TV programme where people could see them painting.
In my films I always wanted to make people see deeply. I don't want to show things, but to give people the desire to see.
Desire is the intangible quality that has more impact on success than talent, education, or IQ. You can't see desire, but you can feel its presence, and see its results in the lives of successful people.
The desire to never leave your side, the desire to never see you again. The desire to see your face asleep on the pillow beside my face and to see your eyes open in the morning when I lie next to you—just watching you, waiting for you to wake up.
Sometimes I see it and then paint it. Other times I paint it and then see it. Both are impure situations, and I prefer neither. At every point in nature there is something to see. My work contains similar possibilities for the changing focus of the eye.
Paint what you feel. Paint what you see. Paint what is real to you.
I have always thought that all men should be free; but if any should be slaves, it should be first those who desire for themselves, and secondly those who desire it for others. Whenever I hear anyone arguing for slavery, I feel a strong impulse to see it tried on him personally.
So I said to myself-I'll paint what I see-what the flower is to me but I'll paint it big and they will be surprised into taking the time to look at it-I will make even busy New Yorkers take time to see what I see of flowers.
I see so many people who don't want to try, and I say 'I don't care what I ever do, I never give up at anything anymore.' I don't care what it is, you'll never see me give up.
You have to learn to express differently. Whenever I do TV or film, I ask if I can see the shot to see, to see if it's full body or a close-up. That helps me understand how to communicate.
I grew up never seeing myself on-screen, and it's really important to me to give people who look like me a chance to see themselves. I want to see myself as the hero of any story. I want to see myself save the world from the bomb.
Once people see this 'Unplugged,' I just want them to feel the spontaneity, to feel passionate... I want you to see another side of me, that's free, and feel where my head is, where whatever happens, happens. I want you to feel inspired.
I see what I want of Love... I see horses making the meadow dance, fifty guitars sighing, and a swarm of bees suckling the wild berries, and I close my eyes until I see our shadow behind this dispossessed place... I see what I want of people: their desire to long for anything, their lateness in getting to work and their hurry to return to their folk... and their need to say: Good Morning.
My films are very everyday, and people don't always want to go to the cinema to see ordinary lives. They want to see something a bit more extraordinary. I get that desire, but it's not the kind of film I want to make.
Painting is an illusion, a piece of magic, so what you see is not what you see. I don't know what a painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere.
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