A Quote by R. B. Kitaj

Don't listen to the fools who say that pictures of people can be of no consequence, or that painting is dead. There is much to be done. — © R. B. Kitaj
Don't listen to the fools who say that pictures of people can be of no consequence, or that painting is dead. There is much to be done.
I bought a painting in Madrid on my first trip there too and a lot of people say, 'Well it's not the greatest painting' and I say, 'It is to me.' OK, you can look at a beautiful painting and say, 'That's beautiful' but to me, it feels warmer to fill my home with pictures of friends and family and paintings of places I've gone. That's what I want to come home to.
Glenn used to say the reason you can't really imagine yourself being dead was that as soon as you say, 'I'll be dead,' you've said the word I, and so you're still alive inside the sentence. And that's how people got the idea of the immortality of the soul - it was a consequence of grammar.
My photographs are proof of what happened. When I go to Russia, sometimes I meet ex-soldiers... They say, 'We came to liberate you....' I say: 'Listen, I think it was quite different. I saw people being killed.' They say: 'No. We never... no shooting. No. No.' So I can show them my Prague 1968 photographs and say, 'Listen, these are my pictures. I was there.' And they have to believe me.
All my life I have painted pictures so that certain people would drop dead when they looked at them, but I have not succeeded yet. The worst painting cant hurt you, but a bad driver can kill you, a bad judge can send you to the chair, a bad politician can ruin an entire country, That is why even a bad painting is sacred.
I think we seem to remember things in still pictures. I never gave up on painting. When they said painting was dead, I just thought, Well, that's all about photography, and photography's not that interesting, and it's changing anyway.
The fact that people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions.. the people who weep before my pictures are having the same religious experience I had when painting them. And if you say you are moved only by their color relationships then you miss the point.
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
I have found it advisable not to give too much heed to what people say when I am trying to accomplish something of consequence. Invariably they proclaim it can't be done. I deem that the very best time to make the effort.
I used to not listen that much, but I've really learnt to listen to other people and to really listen to what they're saying. I've found, especially being on a film set, people have so many different stories; if you just listen, you can pick up so much stuff. I try to listen as much as I can.
All pictures are unnatural. All pictures are sad because they're about dead people. Paintings you don't think of in a special time or with a specific event. With photos I always think I'm looking at something dead.
All I can say is, I did my best. This was the job I undertook, I did my best, and I could not have done more in the circumstances. What people think of it, I have to leave to them. It is of no great consequence. What is of consequence is I did my best.
People believe pictures. It's a photograph that's in your passport, not a painting. Now, George Bernard Shaw said, 'I would exchange every painting of Christ for one snapshot.' That's what the power of photography is.
Only fools and dead men don't change their minds. Fools won't. Dead men can't.
Film is mostly a visual medium, and so the director has much more control in terms of painting pictures and painting a performance. For theater, the director does everything he can and then says, 'Out you go,' and the actors are in charge of that stage every night.
People say, 'What a discipline, painting so much.' I say, 'No, I love it.' Nothing amuses me as much as my work. To have discipline would be not to paint.
I have been painting white people for much longer in my life than I have done for colored people.
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