A Quote by Pierre-Auguste Renoir

I have a predilection for painting that lends joyousness to a wall. — © Pierre-Auguste Renoir
I have a predilection for painting that lends joyousness to a wall.
Well, painting today certainly seems very vibrant, very alive, very exiting. Five or six of my contemporaries around New York are doing very vital work, and the direction that painting seems to be taken here - is - away from the easel - into some sort, some kind of wall, wall painting.
When the painting is hanging on your wall for a long time, you don't notice it. You get tired of it, even if it's a Picasso. When the next generation inherits the painting, they sell it. I don't want to be sold.
Make a small painting of what you want to do... and project it up on a white wall... The enlarged version is so changed that there is no way of just visualizing it in the brain... It's a whole new dimension in painting.
By ecstasy I mean inner joyousness, and by inner joyousness I mean those inspirational fires which burn within the consciousness of great geniuses, fires which give to them an inconquerable vitality of spirit which breaks down all barriers as wheat bends before the wind.
Joy and happiness are the indicators of balance in a human machine...An inner joyousness, amounting to ecstasy, is the normal condition of the genius mind. Any lack of that joyousness develops body-destroying toxins. That inner ecstasy of the mind is the secret fountain of perpetual youth and strength in any man. He who finds it finds omnipotence and omniscience.
I always liked paintings to be walls rather than windows. When we see a painting on a wall, it's a window, so I often put my paintings in the middle of the space to make a wall.
Pablo Picasso would paint a painting and hang it on the wall, and you would go and see the painting exactly how he wanted it to be made. But if you have an idea for a TV show, for example, you're beholden to studios to produce it and distributors to distribute it.
I think a good painting or a good work of art does many things it wants, I mean, maybe 15 or 20 or 100. One of the things a painting does is to make the room look better. It improves the wall that it's on. Which is much harder than it looks. And that's a good thing. And if one engages with a painting on that level, that's fine, that's great. After some time, familiarity, the other things that a painting does, the other layers, they just start to make themselves felt.
You can't have a $2 million painting unless it's on the wall somewhere and somebody saw it.
Self-painting is a further development of painting. The pictorial surface has lost its function as sole expressive support. It was led back to its origins, the wall, the object, the living being, the human body. By incorporating my body as expressive support, occurrences arise as a result, the course of which the camera records and the viewer can experience
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
Is there a brick wall getting in your way? Fine. That happens. But you have a choice. You can walk away from the wall. You can go over the wall. You can go under the wall. You can go around the wall. You can also obliterate the wall. In other words, don't let anything get in your way. Get a balance, and then let the positive outdistance the negative.
It is not hard to understand modern art. If it hangs on a wall it's a painting, and if you can walk around it it's a sculpture.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
There is an organic affinity between joyousness and tenderness.
He who gives to the poor, lends to the Lord. But it may be said, not improperly, the Lord lends to us to give to the poor.
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