A Quote by Michelangelo

An artist does his most difficult work when he steps back from the blank canvas and thinks about what he is going to create. — © Michelangelo
An artist does his most difficult work when he steps back from the blank canvas and thinks about what he is going to create.
Just slap anything on when you see a blank canvas staring you in the face like some imbecile. You don't know how paralyzing that is, that stare of a blank canvas is, which says to the painter, ‘You can't do a thing’. The canvas has an idiotic stare and mesmerizes some painters so much that they turn into idiots themselves. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of `you can't' once and for all.
The artist doesn't really think about consequences - he or she does the work, stands back and looks at and thinks, 'Hmm, that could have worked better like this.' But as a person who needs to sell tickets to do the next work, one needs to analyze how it does or does not hit its mark.
My belief is that it is most important for an artist to develop an approach and philosophy about life - if he has developed this philosophy, he does not put paint on canvas, he puts himself on canvas.
What an artist worries about as he plans his pictures, makes his sketches, or wonders whether he has completed his canvas, is something much more difficult to put into words. Perhaps he would say he worries about whether he has got it 'right'.
Many painters are afraid of the blank canvas, but the blank canvas is afraid of the truly passionate painter who dares-and who has once broken the spell of 'you can't.'
I love producing! It's so much fun to start with a blank canvas and create the picture you want to create and see it all come together.
As chefs, especially pastry chefs, your creativity plays such an important part in your daily work. We truly do have a blank canvas to work with every time we create a new dish.
Every artist thinks his most recent work is his best. If you didn't feel like that, you wouldn't do anything.
Just dash something down if you see a blank canvas staring at you with a certain imbecility. You do not know how paralyzing it is, that staring of a blank canvas which says to the painter: you don't know anything.
Just let the artist sign an empty canvas or a frame, with the inscription, 'I had such and such a concept in mind' for this work. The artist then need not bother with producing the work, and therefore need not be worried about being dis-satisfied. All he or she needs to do is to sell it to a collector. The collector will have the guarantee that the artist thought about the work, even if momentarily, and therefore be satisfied.
The artist seeks contact with his intuitive sense of the gods, but in order to create his work, he cannot stay in this seductive and incorporeal realm. He must return to the material world in order to do his work. It's the artist's responsibility to balance mystical communication and the labor of creation.
You know, Hitler wanted to be an artist. At eighteen he took his inheritance, seven hundred kronen, and moved to Vienna to live and study... Ever see one of his paintings? Neither have I. Resistance beat him. Call it overstatement but I'll say it anyway: it was easier for Hitler to start World War II than it was for him to face a blank square of canvas.
Extraordinary individuals take one step back and two steps forward with most every challenge-and sometimes two steps back to one step forward. They harvest useful lessons and knowledge from what doesn't work, and they display a remarkable resiliency; and ability to bounce back from adversity.
Inspiration is the most valuable commodity for an artist; it is for me anyway. I can't move forward in any way if I don't feel a strong spark of excitement or creativity. Sometimes it is very difficult to get things flowing. It's important to be in a peaceful state of mind, and then I invite the spirits to come into the studio. I don't stare into a blank canvas or paper. I look through my various collections of books, toys, statues, photographs and other things, and something will trigger an idea. My studio is packed full of things that inspire me.
Sargent, when he painted the size of life, placed his canvas on a level with the model, walked back until canvas and sitter were equal before his eye, and was thus able to estimate the construction and values of his representation.
Every other artist begins with a blank canvas, a piece of paper the photographer begins with the finished product.
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