A Quote by Pierre Soulages
I never want to stop painting. I'm 94 now. What's my secret? I just keep thinking about the painting I'm going to do tomorrow.
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I attended the High School of Industrial Arts and studied with many great artists as painting is something that you never stop learning about. Actually, in high school there was a time that I was thinking about just concentrating on painting and I asked my music teacher, Mr. Sondberg, for advice and he encouraged me to stick with the music as well. So all my life I have been singing and painting.
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.
Picasso didn't stop painting when he was 41 years old because he felt he wasn't relevant, but he kept going and the painting he made before he died are now worth 40 million dollars.
There are absences, but there are also presences. It's about how painting can evolve its own abstractions. I didn't know the painting was going to be about that, but it has to have that journey; I have to learn something, I have to end up somewhere I didn't expect to be, otherwise, I don't think it's painting.
A painting is life and a painting is death . . . the picture is our own legacy left by tomorrow's dead for tomorrow's living.
People won't stop painting, just as they won't stop making music or dancing. This is a facility we have. Children don't stop doing it or having it. On the other hand, it seems we don't need painting anymore. Culture is more interested in entertaining people.
I thought I was going to be able to use my painting ideas as decoration on pottery, but my painting did not translate into decoration on pottery. I thought it was going to, and in fact I made, while still in school, a plate with one of my paintings on it, and that's exactly what it was, it was a plate with a painting on it. It was not a decorated plate; it was just a painting superimposed over a three-dimensional ceramic form.
I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.
The coming and going of birth and death is a painting. Unsurpassed enlightenment is a painting. The entire phenomenal universe and the empty sky are nothing but a painting.
One learns about painting by looking at and imitating other painters. I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting.
You know, I'm incredibly blessed to be able to have this level of choice as an artist today. In this economy, it's something that I, you know, pinch myself at constantly, just thinking about how I could wake up tomorrow and decide I'm going to start painting this or that. So it's good.
Photoshop came out of painting, and now it's going back to painting.
I'm not anti conceptual art. I don't think painting must be revived, exactly. Art reflects life, and our lives are full of algorithms, so a lot of people are going to want to make art that's like an algorithm. But my language is painting, and painting is the opposite of that. There's something primal about it. It's innate, the need to make marks. That's why, when you're a child, you scribble.
What kinds of problems, and what kinds of meanings, happen in the paint? Or as one historian puts it, 'What is thinking in painting, as opposed to thinking about painting?' These are important questions, and they are very hard to answer using the language of art history.
I want a painting to be difficult to do. The more obstacles, obstructions, problems - if they don't overwhelm - the better. I would like to feel that I am involved at any stage of the painting with all its moments, not just this 'now' moment where a superficial grace is so available.
Lend your ears to music, open your eyes to painting, and... stop thinking! Just ask yourself whether the work has enabled you to 'walk about' into a hitherto unknown world. If the answer is yes, what more do you want?
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