A Quote by Sarah Hall

I was a terrible painter - my portraits looked like the evil chimera love-children of Picasso's demoiselles and the BBC test card clown. — © Sarah Hall
I was a terrible painter - my portraits looked like the evil chimera love-children of Picasso's demoiselles and the BBC test card clown.
I'm quite a precious painter; my style is a messy fine art - sort of impressionist. I do portraits, I love painting other artists, but recently, I've been playing around with self portraits, putting on different characters.
Picasso is a painter, so am I; Picasso is Spanish, so am I; Picasso is a communist, neither am I.
Generally, when I tell people I'm a painter, they ask me if I have a card: 'Yes, we'd like this room in this color.' I still might get cards that say 'Mark Bradford. Painter.'
To make money, I did portraits . The truth is so bizarre! I'm kind of embarrassed. I was like a 19th-century pirate painter. I'd say, 'Your mom would love a painting of you!' A salesman! I'd hawk paintings.
I was the class clown, but I was a reluctant class clown because I was always and still am somewhat embarrassed by performing. I have terrible stage fright, and I don't like being in front of people.
I love the BBC. I love working with the BBC. They leave you alone; they give you zero notes. It's like being on vacation.
There are ways of angling the camera. I don't just use a tripod. The only time I did that was in '88 when I first came out of detox, I spent every day doing self-portraits to fit back into my own skin. I didn't know what the world looked like - what I looked like - so in order to fit back into myself, I took self-portraits everyday to give myself courage and to fit the pieces back together. I used a tripod then.
When Picasso painted in Paris, was he a Spanish or a French painter? It does not matter, he was Picasso, whatever the influences surrounding him. He simply chose Paris because it was the ideal place for him to sell his creation.
I visited the Museum of Modern Art and viewed the exhibition of Picasso's sculptures, and I couldn't help but think about what it would be like to have a room full of school children explore Picasso's approach to making art.
I took a couple of classes in clowning, but that was more like Lucille Ball kind of slapstick, not Ringling Brothers. But we had to do things silently, and the teacher would do this running commentary. 'Does this make Clown sad? Oh, Clown doesn't like that, does Clown?' Always 'Clown.' Never a name.
I was going to have cosmetic surgery until I noticed that the doctor's office was full of portraits by Picasso.
Picasso, Michelangelo, possibly, might be verging on genius, but I don't think a painter like Rembrandt is a genius.
Terrible is the force of the waves of sea, terrible is the rush of the river and the blasts of hot fire, and terrible are a thousand other things; but none is such a terrible evil as woman.
Look at the paintings of Picasso. He is a great painter, but just a subjective artist. Looking at his paintings, you will start feeling sick, dizzy, something going berserk in your mind. You cannot go on looking at Picasso's painting long enough. You would like to get away, because the painting has not come from a silent being. It has come from a chaos. It is a by product of a nightmare. But ninety-nine percent art belongs to that category.
I saw someone the other day with yellow on their eyelids, and it looked so fresh. But I thought if I did that I'd look like a clown. So I went and I bought some yellow eye shadow from M.A.C. and I noticed that when you mix it with water it works better. So I tried it, and I looked like Big Bird. I will never do that again.
And painted portraits have a life of their own that comes from deep in the soul of the painter and where the machine can't go.
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