A Quote by Peter Paul Rubens

I paint a woman's big rounded buttocks so that I want to reach out and stroke the dimpled flesh. — © Peter Paul Rubens
I paint a woman's big rounded buttocks so that I want to reach out and stroke the dimpled flesh.
The beauty of a lovely woman is like music ... the rounded neck, the dimpled arm, move us by something more than their prettiness--by their close kinship with all we have known of tenderness and peace.
I want paint to work as flesh... my portraits to be of the people, not like them. Not having a look of the sitter, being them ... As far as I am concerned the paint is the person. I want it to work for me just as flesh does.
I stroke it to the East, and I stroke it to the West, and I stroke it to the woman that I love best. I be strokin'.
Give me some mud, and I will paint you a woman's flesh.
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.
I want paint to work as flesh.
When we're in a human body, we don't care about universal collapse - instead, we care only about a meeting of the eyes, a glimpse of bare flesh, the caressing tones of a loved voice, joy, love, light, the orientation of a house plant, the shade of a paint stroke, the arrangement of hair.
The fate of peoples is made like this, two men in small rooms. Forget the coronations, the conclaves of cardinals, the pomp and processions. This is how the world changes: a counter pushed across a table, a pen stroke that alters the force of a phrase, a woman's sigh as she passes and leaves on the air a trail of orange flower or rose water; her hand pulling close the bed curtain, the discreet sigh of flesh against flesh.
I said, I don't want to paint things like Picasso's women and Matisse's odalisques lying on couches with pillows. I don't want to paint people. I want to paint something I have never seen before. I don't want to make what I'm looking at. I want the fragments.
A woman’s beauty lies, not in any exaggeration of the specialized zones, nor in any general harmony that could be worked out by means of the sectio aurea or a similar aesthetic superstition; but in the arabesque of the spine. The curve by which the back modulates into the buttocks. It is here that grace sits and rides a woman’s body.
The most horrible question students ask: 'How do you paint copper?' 'How do you paint flesh or glass?' You paint everything the same way: Right color, right value, in right spot. There are no prescriptions.
The Tour de France is a wicked sport in the way that it's not just man against man or woman against woman; it's not flesh against flesh. It's flesh against machine.
As far as I am concerned the paint is the person. I want it to work for me just as flesh does.
As far as I am concerned the paint is the person. I want it to work for me just as flesh does
I jumped at the chance to be a part of Stroke Recovery Canada. I want to help March of Dimes Canada in its efforts to support stroke recovery and improve the quality of life of all Canadian stroke survivors.
If I was painting a picture, I wouldn't want to take a picture of a single paint stroke. I'd rather show people what it looks like when it's done.
This site uses cookies to ensure you get the best experience. More info...
Got it!