A Quote by Steve Guttenberg

Let's look at people as artists and try to support them; just because Picasso painted a couple of bad paintings, that's no reason to say he's a lousy painter. — © Steve Guttenberg
Let's look at people as artists and try to support them; just because Picasso painted a couple of bad paintings, that's no reason to say he's a lousy painter.
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.
And I started with this: I have not painted at all my childhood. In fact, I never painted. But I helped my father who was a house painter and decorative painter. He made stage sets, he made glass paintings, he made everything.
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.
Paintings are memories. Memories of the painter who painted them. Memories that can be shared as well. Paintings are things to remember things by.
I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason.
My paintings are about light, about the way things look in their environment and especially about how things look painted. Form, colour and space are at the whim of reality, their discovery and organization is the assignment of the realist painter.
Once, Picasso was asked what his paintings meant. He said, “Do you ever know what the birds are singing? You don’t. But you listen to them anyway.” So, sometimes with art, it is important just to look.
Picasso and Matisse were the guys I wanted to get away from, and cubism is all still lifes. Their paintings are all closed drawings. And still life is a perfect form for that. By the mid-'50s, I sort of dropped the still life. The large picture was a way of getting around them, too. The abstract expressionists were also into the large form because it was a way of getting around Matisse and Picasso. Picasso can't paint big paintings. Matisse didn't bother after a certain point.
I work as an artist, and I think the audience of one, which is the self, and I have to satisfy myself as an artist. So I always say that I write for the same people that Picasso painted for. I think he painted for himself.
[Pablo] Picasso really changed my life. It's strange to say so, but I started to see some Picasso paintings very early. I was very young, and he was not so much known.
Picasso's always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.
People say, 'Jay, you're a great guy, you just had a couple of bad nights.' People that have themselves under control don't have a couple of bad nights like that. Plain and simple.
Even though artists of all kinds claim to put their hearts and souls into their works, it will only confuse you, for example, if you try to discern a painter by his paintings. His masterpiece may be the master because of its iridescence; it may display a hundred different perspectives through his single face.
I look at my paintings for a very long time before letting them out of my studio. I like to get on the treadmill and look around at all of my paintings while I exercise. I try to stare them down to make them reveal their weaknesses. If they reveal weaknesses, they get repainted.
The best way to begin is to say: 'Balthus is a painter of whom nothing is known. And now let us have a look at the paintings'.
I don't write for a particular audience. I work as an artist, and I think the audience of one, which is the self, and I have to satisfy myself as an artist. So I always say that I write for the same people that Picasso painted for. I think he painted for himself.
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