A Quote by Piet Mondrian
Every true artist has been inspired more by the beauty of lines and color and the relationships between them than by the concrete subject of the picture.
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We speak of concrete and not abstract painting because nothing is more concrete, more real than a line, a color, a surface.
The artist's alertness to the coloristic demands of each picture, the ability to respond to the picture's needs, to feed the color until its appetite is satiated; these are the true measures of a colorist's talent.
The longer I've been writing scripts, the more I find that you have to give the artist more leeway or else you'll just be disappointed. You can't force them to draw every image that's in your head. Since I'm a horrific artist, I wouldn't want them to anyway. So I definitely give them a lot more leeway now than I did at the beginning.
When an artist paints a picture he does not want you to consider his personality as represented in that picture - he wants you to look at the beauty of that picture. No one cares who has painted the picture as long as it is beautiful.
Take two paintings by the same artist, one has a signature and the other doesn't. The signed picture is generally more valuable. The signature is almost graffiti or a tagging system, yet it can become more important than the subject.
Melody and harmony are like lines and colors in pictures. A simple linear picture may be completely beautiful; the introduction of color may make it vague and insignificant. Yet color may, by combination with lines, create great pictures, so long as it does not smother and destroy their value.
True beauty is not related to what color your hair is or what color your eyes are. True beauty is about who you are as a human being, your principles, your moral compass.
For me, the subject of the picture is always more important than the picture.
In my paintings, the question on whether figures are similar or not is not of any importance, the slightest change of figure or color can create a new painting and it doesn't really matter if a subject is revisited by an artist repeatedly. With enough time in between paintings, an artist can always bring to it something new.
One of my favorite beauty products is Vincent Longo Water Canvas creamy blush. I have it in every color and I've been using it for 5 years and that's all I put on when I leave the house. It looks so natural I just put a little bit on my cheeks to give them some color.
Color is a plastic means of creating intervals... color harmonics produced by special relationships, or tensions. We differentiate now between formal tensions and color tensions, just as we differentiate in music between counterpoint and harmony.
I can be inspired by anything. It can be from an artist, I love Georgia O'Keefe, de Kooning, Jackson Pollock, Lichtenstein, Koons- I love them all. I can be inspired by an artist, a dream, something that I pass by, I was even inspired by a commercial! A commercial of whale war- I was so sad that people were killing whales to extinction, so I made a painting of that. So I can really be inspired by a lot of things.
The difficulty with color is to go beyond the fact that it's color ? to have it be not just a colorful picture but really be a picture about something. It's difficult. So often color gets caught up in color, and it becomes merly decorative. Some photographers use it brilliantly to make visual statements combining color and content; otherwise it is empty.
The viewer who sees only a study in the picture of the glass jug illuminated from behind fails to appreciate the masterly composition, the noble purity of the lines, the rich plasticity of the form and consequently also the poetry and beauty of the picture, and still more important, its specifically photographic qualities.
Take rather than give the tone to the company you are in. If you have parts you will show them more or less upon every subject; and if you have not, you had better talk sillily upon a subject of other people's than of your own choosing.
The beauty of the picture is an abiding concrete of the painter's vision.
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