A Quote by Oscar Wilde
Most of our modern portrait painters are doomed to absolute oblivion. They never paint what they see. They paint what the public sees, and the public never sees anything.
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Painters paint outdoors, or in rooms full of people; they paint their lovers, alone, naked; they paint and eat; they paint and listen to the radio. It is a soothing way of doing your job.
There are, of course, always painters whom I admire and find fascinating. I've often thought, 'Goodness, if I could paint like the Danish Golden Age painters, the early 19th century painters, the way they could paint a landscape - absolutely beautiful.'
The best reason to paint is that there is no reason to paint... I'd like to pretend that I've never seen anything, never read anything, never heard anything... and then make something... Every time I make something I think about the people who are going to see it and every time I see something, I think about the person who made it... Nothing is important... so everything is important.
It is the fertile hallucination that makes paint so compelling. Paint is like the numerologist's numbers, always counting but never adding up, always speaking but never saying anything rational, always playing at being abstract but never leaving the clotted body.
You can never judge a paint hue by the liquid color in the paint pot. You must apply it to a wall, wait for the paint to dry, then decide.
The artist should paint not only what he sees before him, but also what he sees within him. If, however, he sees nothing within him, then he should also refrain from painting that which he sees before him. Otherwise, his pictures will be like those folding screens behind which one expects to find only the sick or the dead.
Obama sees everything backward. Where Americans see individual achievement, he sees government's work. Where we see failing companies, he sees innovation worth subsidizing. Where we see the need for economic growth, he sees a need for higher taxes.
My responsibility isn't to paint a flattering portrait; my responsibility is to paint a real portrait, a true portrait.
I paint German artists whom I admire. I paint their pictures, their work as painters, and their portraits too. But oddly enough, each of these portraits ends up as a picture of a woman with blonde hair. I myself have never been able to work out why this happens.
Paint records the most delicate gesture and the most tense. It tells whether the painter sat or stood or crouched in front of the canvas. Paint is a cast made of the painter's movements, a portrait of the painter's body and thoughts.
Being covered in white paint, you demonstrate behaviour intended to create a public nuisance, which did in fact cause offence to members of the public, and created a breach of the peace and public order.
I don't paint women, I paint pictures. . . What I am after above all is expression. If in a portrait I put eyes, a nose, a mouth, there isn't much use; on the contrary it paralyses the imagination of the spectator, and obliges us to see the person in a certain way.
There are some facts that will never change. One fact is that you are forgiven. If you are in Christ, when he sees you, your sins are covered-he doesn't see them. He sees you better than you see yourself.
Painters love paint itself: so much that they spend years trying to get paint to behave the way they want it to.
Public officials insult our intelligence and our goodwill when they paint rosy pictures about budgets, jobs, bipartisanship, and transparency, and alter their positions on issues simply to keep collecting their paycheck by never disagreeing or disappointing anyone.
The painter should paint not only what he has in front of him, but also what he sees inside himself. If he sees nothing within, then he should stop painting what is in front of him.
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