A Quote by Nathaniel Hawthorne
Sunlight is painting.
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When you think of painting as painting it is rather absurd. The real world is before us - glorious sunlight and activity and fresh air, and high speed motor cars and television, all the animation - a world apart from a little square of canvas that you smear paint on.
Bless... the two painting masters who first pointed out to me that there was coming and going among trees, that there was sunlight in shadows.
It is sunlight in modified form which turns all the windmills and water wheels and the machinery which they drive. It is the energy derived from coal and petroleum (fossil sunlight) which propels our steam and gas engines, our locomotives and automobiles. ... Food is simply sunlight in cold storage.
When you shoot in America, you have huge beams of sunlight in the windows, very vivid sunlight - it's faster in a way.
It's the world without sunlight, but I haven't seen sunlight in so long, I don't remember it.
I hate darkness. Claude Monet once said that painting in general did not have light enough in it. I agree with him. We painters, however, can never reproduce sunlight as it really is. I can only approach the truth of it.
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
We couldn't go to the moon on whale oil. We don't have the capacity yet to consider doing such things as harnessing current sunlight. We're burning ancient sunlight in order to get us to where we now are. But it's costly.
I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.
Architecture appears for the first time when the sunlight hits a wall.
The sunlight did not know what it was before it hit a wall.
The coming and going of birth and death is a painting. Unsurpassed enlightenment is a painting. The entire phenomenal universe and the empty sky are nothing but a painting.
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.
One learns about painting by looking at and imitating other painters. I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting.
Sunlight is essential to the body's ability to absorb calcium from the food you are eating. Make sure you receive adequate vitamin D every day through sunlight. About fifteen to twenty minutes of sun on the face and hands is usually enough for most of us.
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