A Quote by Paul Klee

The painter should not paint what he sees, but what will be seen. — © Paul Klee
The painter should not paint what he sees, but what will be seen.
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.
The painter should paint not only what he has in front of him, but also what he sees inside himself.
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.
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.
If I were a painter, I would paint beautiful bodies - I would paint nipples, and I would paint Bibles. Am I going to say, 'I'm not going to paint this woman's neck because people will think I just want to lick on necks?' Please! That's not what art is about.
The true painter strives to paint what can only be seen through his world.
Help people to meditate, because there is nothing more creative than meditation. Each art and each creativity can be tremendously enhanced by meditation. If somebody is a painter and he starts meditating, his painting will have a sudden jump, it will become tremendously profound - because whatsoever you paint reflects your mind. If the mind goes deeper, your painting will go deeper. You paint your mind. What else can you paint? You paint yourself.
If you're a painter, paint. But you don't have to put Jesus in every picture. Paint well, and if you paint well enough, they might ask you why you do that.
What caricature is in painting, burlesque is in writing; and in the same manner the comic writer and painter correlate to each other; as in the former, the painter seems to have the advantage, so it is in the latter infinitely on the side of the writer. For the monstrous is much easier to paint than describe, and the ridiculous to describe than paint.
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.
What a business is this of a portrait painter! You bring him a potato and expect he will paint you a peach.
Sometimes I seem to be two people. One who does not paint and one who does. The one who does not paint assumes that the one who does can paint anything. The one who is the painter sometimes finds it difficult to live up to that faith.
My artistic process involves pens, gesso, acrylic paint, and markers, all on vellum. I use a window painter's technique and paint on the backside of my image before I mess with the front.
A writer should write with his eyes and a painter paint with his ears.
What does it mean for a painter to paint in the manner of So-and-So or to actually imitate someone else? What's wrong with that? On the contrary, it's a good idea. You should constantly try to paint like someone else. But the thing is, you can't! You would like to. You try. But it turns out to be a botch... And it's at the very moment you make a botch of it that you're yourself.
I'm a painter. I'm still a painter and I will die a painter. Everything that I have developed has to do with extending visual principles off the canvas.
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