A Quote by Pierre-Auguste Renoir
It is not enough for a painter to be a clever craftsman; he must love to 'caress' his canvas, too.
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If I marry: He must be so tall that when he is on his knees, as one has said he reaches all the way to heaven. His shoulders must be broad enough to bear the burden of a family. His lips must be strong enough to smile, firm enough to say no, and tender enough to kiss. Love must be so deep that it takes its stand in Christ and so wide that it takes the whole lost world in. He must be active enough to save souls. He must be big enough to be gentle and great enough to be thoughtful. His arms must be strong enough to carry a little child.
Just slap anything on when you see a blank canvas staring you in the face like some imbecile. You don't know how paralyzing that is, that stare of a blank canvas is, which says to the painter, ‘You can't do a thing’. The canvas has an idiotic stare and mesmerizes some painters so much that they turn into idiots themselves. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of `you can't' once and for all.
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.
An artist who wants to transpose a composition onto a larger canvas must conceive it over again in order to preserve its expression; he must alter its character and not just fill in the squares into which he has divided his canvas.
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.
I use different media, but I still think as a painter. I organize my forms and colors on a screen like a painter does on a canvas.
What the painter adds to the canvas are the days of his life. The adventure of living, hurtling toward death.
I was going to have to leave you anyway. Because I loved you too much to drag you down with me." My hand crept up to caress the rigid line of his jaw. "Why'd you change your mind?" I whispered. "After I calmed down a little and had a chance to think, I figured . . . I love you enough to try and deserve you. I would do anything, be anything, for you.
I have tried to preserve in my relationship to the film the same closeness and intimacy that exists between a painter and his canvas.
We scientists are clever — too clever — are you not satisfied? Is four square miles in one bomb not enough? Men are still thinking. Just tell us how big you want it!
The love of a dog for his master is notorious; in the agony of death he has been known to caress his master, and everyone has heard of the dog suffering under vivisection, who licked the hand of the operator; this man, unless he had a heart of stone, must have felt remorse to the last hour of his life.
What I did for my last act as a painter, if you call me a painter, was to photograph the weave of the canvas, and enlarge it and enlarge it until it became like a landscape.
The painter paints his brushes black, Through the canvas runs a crack, Portrait of the pain never answers back...
Architects, sculptors painters, we all must return to the crafts! For art is not a 'profession.' There is no essential difference between the artist and the craftsman. The artist is an exalted craftsman.
Im like the painter with his nose to the canvas, fussing over details. Gazing from a distance, the reader sees the big picture.
If you're clever enough and creative enough to get a good film made, then you should be clever enough and creative enough to find ways to get it out there, one being something like Jameson First Shot.
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