A Quote by Pierre-Auguste Renoir
I arrange my subject as I want it, then I go ahead and paint it, like a child.
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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.
I mean, if you want to hurt yourself, go ahead. It's like, if you want to jack off, go ahead, just don't 'spoo' on a public bus or something . Do whatever you want to do. Just don't get it in somebody else's face.
The word 'abstract' comes from the light tower of the philosophers. One of their spotlights that they have particularly focused on 'Art'. [Abstraction was] not so much what you could paint but rather what you could not paint. You could not paint a house or a tree or a mountain. It was then that subject matter came into existence as something you ought not have.
I’m not going to let go of you. I’m going to hold you all night. So go ahead and feel whatever you feel. If you’re still craving cocaine, go ahead. You’re safe. You can crave it all you want, but I won’t let go, and if you still feel like you can’t trust yourself in the morning, and it’s what you want, I’ll drive you to rehab myself. Okay?" ~ Max
My work is not about paint. It's about paint at the service of something else. It is not about gooey, chest-beating, macho '50s abstraction that allows paint to sit up on the surface as subject matter about paint.
It took me four years to paint like Raphael, but a lifetime to paint like a child.
I like painting because it's something I never come to the end of. Sometimes I paint a picture, then I paint it all out. Sometimes I'm working on fifteen or twenty pictures at the same time. I do that because I want to - because I like to change my mind so often. The thing to do is always to keep starting to paint, never finishing painting.
When I was a child of four I wasn't really drawing like a child, I wasn't sketching as a child. I would sketch and I was using perspective, the good relationship of the subject.
Draw and paint the subject the way you want it to be, not as it is.
Being behind the camera you have control; you have the ability to make decisions for characters, for where the story line's going to go, how you want to put it out there, how you want to edit it. Acting is like where you paint on the canvas, and being behind the camera is like being either the paint or the paintbrush. They're both a part of the creative process, it's just that they have two different functions.
For an Impressionist to paint from nature is not to paint the subject, but to realize sensations.
I love paint. I like watercolours. I like acrylic paint... a little bit. I like house paint. I like oil-based paint, and I love oil paint. I love the smell of turpentine and I like that world of oil paint very, very, very much.
Painting allows me to use other portions of my brain pleasurably. Irony plays no part in what or how I paint. I paint the particular subject matter not to make polemical points but because I am interested in the human imprint on the landscape. I paint the landscape of my time and place with the stuff in it.
I can't live where I want to, I can't go where I want to go, I can't do what I want to, I can't even say what I want to. I decided I was a very stupid fool not to at least paint as I wanted to.
There's no one on the island telling them they're not good enough, so they just go ahead and sing and paint and write.
Sure, I can talk like you, but I choose not to, It's like an art, you know? Picasso had to prove to the world he could paint the right way, before he goes putting both eyes on the side of a face... See if you paint wrong because that's the best you can do, you just a chump. But you do it because you want to? Then you're an artist...You can take that to the grave and dig it up when you need it.
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