A Quote by Steve Coogan

I like the transience of Klimt paintings. — © Steve Coogan
I like the transience of Klimt paintings.
I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.
The spot paintings and spin paintings were trying to find mechanical ways to make paintings.
I really like the city of Vienna. I like its art, its music and its architecture. In short, I like the culture that Vienna represents. What really captures me is the period around 1900 - the time of Freud, Schnitzler and Klimt. This is the period in which the modern view of mind was born.
Unlike the background in many of the paintings that I was inspired by or paintings that I borrowed poses from - the great European paintings of the past - the background in my work does not play a passive role.
I like all paintings. I always look at the paintings, good or bad, in barbershops, furniture stores, provincial hotels. I'm like a drinker who needs wine. As long as it is wine, it doesn't matter which wine.
Some people might think that the paintings are involved with a mythic - not just subject matter - but a certain sort of physical space that the paintings occupy...like personages.
People are still making paintings. People are still enjoying paintings, looking at paintings. Paintings still have something to tell us. There's a way of being in the world that painting brings to us, that painters bring to the task that we absorb and are able to be in dialogue with. That's something that's part of us.
I don't paint over my paintings with black paint. I paint black paintings. It isn't because I'm sad, just as I didn't paint red paintings yesterday because I was happy. Nor will I paint yellow paintings tomorrow because I'm jealous.
I enjoy thinking about how paintings can change depending on where they are - how they look in a gallery or in relation to other paintings, or in different rooms. Paintings can change the way we experience and see the world.
I'm just really impressed by oil paintings - I don't see how people do it! That's the style I like: classic oil paintings. Abstract art just isn't my thing.
I like the idea that paintings are not representations of an artist's psyche. Making the paintings is what gives the artist her psyche in the first place.
Chris Ofili's suave, stippled, visually tricked-out paintings of the nineties, with their allover fields of shimmering dots and clumps of dung, are like cave paintings of modern life. They crackle with optical cockiness, love, and massive amounts of painterly mojo.
A New York audience generally likes decorative paintings, and decorative paintings go with the couch. If you change the couch, you change the painting. And when you're coming up, and the paintings aren't first-class decoration, you're at a disadvantage for publicity and sales.
A photo is like a map, a way of giving me a foot into a kind of reality I want... I'm not trying to make paintings look like photos. I want to make paintings using photos as a reference, the way painters did when photography was first invented.
The paintings of Francis Bacon to my eye are very beautiful. The paintings of Bosch or Goya are to my eye very beautiful. I've also stood in front of those same paintings with people who've said, 'let's get on to the Botticellis as soon as possible.' I have lingered, of course.
I want to make beautiful paintings. But I don't make beautiful paintings by putting beautiful paint on a canvas with a beautiful motif. It just doesn't work. I expect my paintings to be strong and surprising.
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