A Quote by Robert Wyatt

I'm not, by nature, a collaborator. My biggest influences were people like painters and poets. These are solitary workers. — © Robert Wyatt
I'm not, by nature, a collaborator. My biggest influences were people like painters and poets. These are solitary workers.
Im not, by nature, a collaborator. My biggest influences were people like painters and poets. These are solitary workers.
I have a strange relationship with influences because mine are mostly literary or painters or poets, who I'll even quote. I don't do tributes to cinema.
Poets like painters, thus unskilled to trace The naked nature and the living grace, With gold and jewels cover ev'ry part, And hide with ornaments their want of art. True wit is Nature to advantage dressed, What oft was thought, but ne'er so well expressed.
My biggest influences were 1980s punk and metal. Metallica were my biggest influence because they were good at everything - riffs, energy - but with such an ear for melody, it was hard not to get pulled into it and become a fanatic.
My biggest poetic influences are probably 20th-century British and Irish poets. So I suppose I'm always listening for the music I associate with that poetry, the telling images, the brevity. I want to hear it in my own work as well as in the poetry I read. However, I think I'm generally more forgiving of other poets than myself.
I always say Philadelphia, Pennsylvania is my biggest influence. But for painters, I like many, many painters, but I love Francis Bacon the most, and Edward Hopper.
I regretted the solitary nature of the writer's life - other people, normal working people, spent their days with co-workers, rode the subway home with a crowd, walked through thronged streets. I worked at home, all by myself.
It is possible that scientists, poets, painters and writers are all members of the same family of people whose gift it is by nature to take those things which we call common-place and to 're-present' them to us - the world - in such ways that our self-imposed limitations are expanded.
Poets and painters are outside the class system, or rather they constitute a special class of their own, like the circus people and the Gypsies.
My biggest influences when I was a kid - I listened to a lot of top 40 radio, so whatever the big artists were, so, like, the mid-'80s.
There are two classes of poets - the poets by education and practice, these we respect; and poets by nature, these we love.
In my heart I believe that biology is the beginning and the end of everything. It's the biggest source of ideas, the biggest source of invention. Nobody can invent better than nature and so if you like nature is my biggest source of inspiration.
To a large extent, the problems of poets are the problems of painters, and poets must often turn to the literature of painting for a discussion of their own problems.
I started moving away from poets like Wallace Stevens and Hart Crane and started reading poets like, again, Karl Shapiro, Howard Nemerov, Philip Larkin, and the British poets who were imported through that important anthology put together by Alvarez - and those would include Thom Gunn and Ted Hughes. And I think these poets gave me assurance that there were other ways to write besides the rather involuted style of high modernism whose high priests were Pound, Eliot and Stevens, and Crane perhaps.
Painters were also attorneys, happy storytellers of anecdote, psychologists, botanists, zoologists, archaeologists, engineers, but there were no creative painters.
Poets knew that isolation in nature, far from people and things man-made, was good for the soul, and he'd always identified with poets.
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