A Quote by Michel Eugene Chevreul

For the painter, the system of painting in flat tints is superior to all others. — © Michel Eugene Chevreul
For the painter, the system of painting in flat tints is superior to all others.
Having a background in doing printmaking and letterpress, I think that I became very interested in images that were flat and graphic. And my painting still today is very flat...American craft is like that too - the painting is very flat. And also the painting that you see on the storefronts, handmade signs, tend to be very flat. That's probably my biggest influence.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting. Like finding some imaginary computer painter, or a robot who paints.
Not every painter has a gift for painting, in fact, many painters are disappointed when they meet with difficulties in art. Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind. The painter must always seek the essence of things, always represent the essential characteristics and emotions of the person he is painting.
It is an intimately communicative affair between the painter and his painting, a conversation back and forth, the painting telling the painter even as it receives its shape and form.
Poetry is superior to painting in the presentation of words, and painting is superior to poetry in the presentation of facts. For this reason I judge painting to be superior to poetry.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.
I was at an art museum with my parents, and was quite taken with a [Vincent] Van Gogh painting. I stood admiring the painting for some time, and then realized that in addition to feeling moved by the beauty of the painting, I felt a little jealous of the painter.
Sometimes you need to live with a painting for a while. Starting a painting can be easy, but finishing it... that's the skill of the painter, how you finally know when it's done.
I am primarily an oil painter and a studio painter, so originally I was going to do an oil painting.
Comedy is the one absolutely self-aware art form. Actually, hip-hop's another one, I suppose. Because in your songs you're talking about how good a hip-hop artist you are. It's like a painter painting a panting of himself painting a painting.
I do have great respect for painting, but I am definitely not a painter. I make drawings of paintings, and I'm jealous of painting for sure, but, for me, the paper gives my work a limit.
After painting comes Sculpture, a very noble art, but one that does not in the execution require the same supreme ingenuity as the art of painting, since in two most important and difficult particulars, in foreshortening and in light and shade, for which the painter has to invent a process, sculpture is helped by nature. Moreover, Sculpture does not imitate color which the painter takes pains to attune so that the shadows accompany the lights.
No one purposefully paints a bad painting. It's someone who's trying to do a good painting, but it's terrible. I have one with a matador, and the bull is going through the blanket. You can tell the painter didn't know how to paint it.
When I'm painting the picture, I'm really painting a picture. I may have a flat-footed technique, or something like that, but still, to me, the thrill, or the meat of the thing, is the actual painting. I don't get any thrill out of laying it out.
No one wants my painting because it is different from other people's peculiar, crazy public that demands the greatest possible degree of originality on the painter's part and yet won't accept him unless his work resembles that of the others!
The transition from painter to artist comes when you cross the line of painting what you see to painting what you feel about what you see.
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