A Quote by Pablo Picasso
An artist must forget painting when he paints. That's the only way he will do original work.
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Filmmaking is a very collaborative art. Unlike a painting that an artist paints sitting by himself, as a director, you have to work with a team.
Something in me knows where I’m going, and - well, painting is a state of being. ... Painting is self-discovery. Every good artist paints what he is.
What makes someone an artist? I don't think is has anything to do with a paintbrush. There are painters who follow the numbers, or paint billboards, or work in a small village in China, painting reproductions. These folks, while swell people, aren't artists. On the other hand, Charlie Chaplin was an artist, beyond a doubt. So is Jonathan Ive, who designed the iPod. You can be an artist who works with oil paints or marble, sure. But there are artists who work with numbers, business models, and customer conversations. Art is about intent and communication, not substances.
Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?
Painting is self-discovery. Every good artist paints what he is.
My father is a well known artist, Ted Dyer, who has been painting for many years. Our work is very different, but growing up surrounded by paintings, paints, easels and art books does have an effect.
I see more and more that my work goes infinitely better when I am properly fed, and the paints are there, and the studio and all that... I wish I could manage to make you really understand that when you give money to artists, you are yourself doing an artist's work, and that I only want my pictures to be of such a quality that you will not be too dissatisfied with your work.
The artist must forget the audience,
forget the critics, forget the technique, forget everything but love for the music.
Then, the music speaks through the performance,
and the performer and the listener will walk together
with the soul of the composer, and with
God.
If you paint the leaf on a tree without using a model, your imagination will only supply you with a few leaves; but Nature offers you millions, all on the same tree. No two leaves are exactly the same. The artist who paints only what is in his mind must very soon repeat himself.
We must come to understand the deep mutual connection or kinship between the various forms of our spirituality. We must recollect our original spiritual and moral substance, which grew out of the same essential experience of humanity. I believe that this is the only way to achieve a genuine renewal of our sense of responsibility for ourselves and for the world. And at the same time, it is the only way to achieve a deeper understanding among cultures that will enable them to work together in a truly ecumenical way to create a new order for the world.
What I think confuses things is when people approach painting as an inherently expressive or personal medium. We still tend to have this expectation of purity with painting, this idea not only that the artist must be reflected in his or her canvases, but more importantly, that this is where one finds meaning.
If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this.
The artist has the power to signoff the work by deconstructing the work itself: I've finished this work now and I'll sign it and relegate the painting to simply something that services my signature. The painting becomes the colorful backdrop of the signature.
The sincere artist is usually his own best critic, but continuous and prolonged work on one painting will sometimes dull his judgment... The critic is in demand, but he must be competent.
It's sort of like my past is an unfinished painting, and as the artist of that painting, I must fill in all the ugly holes and make it beautiful again.
People want to know those details. They think it gives them greater insight into a piece of art, but when they approach a painting in such a manner, they are belittling both the artist’s work and their own ability to experience it. Each painting I do says everything I want to say on its subject and in terms of that painting, and not all the trivia in the world concerning my private life will give the viewer more insight into it than what hangs there before their eyes. Frankly, as far as I’m concerned, even titling a work is an unnecessary concession.
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