A Quote by PJ Harvey

If I ever meet a writer or a painter, I don't presuppose that they are like the work they are presenting. — © PJ Harvey
If I ever meet a writer or a painter, I don't presuppose that they are like the work they are presenting.
I think that with Bob Dylan around, we're living in an era where we have Whitman presenting new work, we have Dickens presenting new work, we have Yeats and Shakespeare presenting new work. It's that level.
Painting can also be too earnest at times and that's a drag. You don't want to go in that direction either. It should be holistic. It should represent the whole of your personality, I guess, so if somebody is a sincere painter or an ironic painter, then they're just bullshitting the audience and presenting only an idealized version of themselves.
What caricature is in painting, burlesque is in writing; and in the same manner the comic writer and painter correlate to each other; as in the former, the painter seems to have the advantage, so it is in the latter infinitely on the side of the writer. For the monstrous is much easier to paint than describe, and the ridiculous to describe than paint.
When I was in the writers' room, all these writers were like, "Ugh, another star that they gave a writing-producing credit to." But then within like an hour, they were like, "You're really a writer." "Yeah, I really am. I'm a writer, and a director, and a producer, and an actor, and a painter, and I do all that stuff in the Lush Life." It was great.
Presenting statues of honor to reporters for covering an earthquake is like presenting a first prize to a doctor for performing surgery.
Rarely ever see or meet the writer during shooting.
If ever a painter wrought a miracle of illusion with brush and pigment that painter was Velazquez in his Las Meninas, at the Prado in Madrid.
I'm probably the least cerebral guy you're ever going to meet as a writer.
The writer must be in it; he can't be to one side of it, ever. He has to be endangered by it. His own attitudes have to be tested in it. The best work that anybody ever writes is the work that is on the verge of embarrassing himself, always.
You can be sure that a painter reveals himself in his work as much as and more than a writer does in his.
The present is always unsettled, no one has had time to contemplate it in tranquillity . I was a painter before I was a writer and a painter never wants the subject right under his nose; he wants to stand back and study a landscape with half-closed eyes.
I am convinced that each work of art, be it a great work of genius or something very small, has its own life, and it will come to the artist, the composer or the writer or the painter, and say, "Here I am: compose me; or write me; or paint me"; and the job of the artist is to serve the work.
I used to wish I would be a painter or a violinist, where maybe I wouldn't need to travel as much. Or maybe if I were a writer, I wouldn't need to travel as much. It's the travel that kind of killed me. And the hours. I always pictured if I were a painter you could make your own hours maybe... work after the kids were asleep.
That's one thing that's always, like, been a difference between, like, the performing arts, and being a painter, you know. A painter does a painting, and he paints it, and that's it, you know. He has the joy of creating it, it hangs on a wall, and somebody buys it, and maybe somebody buys it again, or maybe nobody buys it and it sits up in a loft somewhere until he dies. But he never, you know, nobody ever, nobody ever said to Van Gogh, 'Paint a Starry Night again, man!' You know? He painted it and that was it.
I had no natural gift to be anything - not an athlete, not an actor, not a writer, not a director, a painter of garden porches - not anything. So I've worked really hard, because nothing ever came easily to me.
There were no museums or galleries in Shanghai, but I was very keen on art - I was always sketching and copying, and sometimes I think that my whole career as a writer has been the substitute work of an unfulfilled painter.
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