A Quote by Paul Gauguin
It is well for young men to have a model, but let them draw the curtain over it while they are painting.
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I deal with painting as I deal with things, I paint a window just as I look out of a window. If an open window looks wrong in a picture, I draw the curtain and shut it, just as I would in my own room. In painting, as in life, you must act directly.
Let us draw the curtain of charity over the rest of this scene
I never succeed in painting scenes, however beautiful, immediately upon returning from them. I must wait for a time to draw a veil over the common details.
There has never been a painting that was more beautiful than nature. The model does not unfold herself to you, you must rise to her. She should be the inspiration for your painting. No man has ever over-appreciated a human being.
Ruby Gillis thinks of nothing but young men, and the older she gets the worse she is. Young men are all very well in their place, but it doesn't do to drag them into everything, does it?
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.
In general I do not draw well with literary men -- not that I dislike them but I never know what to say to them after I have praised their last publication.
Well, I have many models of Prius that got recalled, but I have a new model that didn't get recalled. This new model has an accelerator that goes wild, but only under certain conditions of cruise control. And I can repeat it over and over and over again--safely.
All over the world, particularly in the newer nations, young men are coming to power--men who are not bound by the traditions of the past--men who are not blinded by the old fears and hates and rivalries-- young men who can cast off the old slogans and delusions and suspicions.
A good essay must have this permanent quality about it; it must draw its curtain round us, but it must be a curtain that shuts us in not out.
I thought I was going to be able to use my painting ideas as decoration on pottery, but my painting did not translate into decoration on pottery. I thought it was going to, and in fact I made, while still in school, a plate with one of my paintings on it, and that's exactly what it was, it was a plate with a painting on it. It was not a decorated plate; it was just a painting superimposed over a three-dimensional ceramic form.
I would often draw in my sleep. That alone made for twice the work... I couldn't use the weird stuff I drew while dozing off, so I'd end up having to draw it all over again.
To draw does not simply mean to reproduce contours; the drawing does not simply consist in the idea: the drawing is even the expression, the interior form, the plan, the model. Look what remains after that! The drawing is three fourths and a half of what constitutes painting. If I had to put a sign over my door to the atelier, I would write: School of drawing, and I'm certain that I would create painters.
The actors nowadays, both young men and young ladies, don't always wear their period clothes as well as they might. They tend to stomp around a bit in them.
Most people don't really like to pose. It is difficult to get them to be present and relaxed under this kind of molecular scrutiny. I want them to understand I'm not simply painting them: I am painting them within a precise moment in time, as a shadow moves across their eyebrows. Then it is gone. The moment is over.
While it may seem a little mundane, the material realities of realizing the painting actually have a lot to do with how you should read the painting. For example, we assume that what the model is wearing is what we found him in in the streets. No; in fact, a lot of what happens is that in Photoshop certain aspects are being heightened or diminished. There is no actual material truth in these paintings.
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