A Quote by Stuart Pearson Wright
A contemporary painting is worth what someone is prepared to pay for it and not a predetermined figure.
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Is he prepared to support, at his own expense, projects and undertakings designed to help the needy? Is he prepared to pay higher taxes so that public authorities may expand their efforts in the work of development? Is he prepared to pay more for imported goods, so that the foreign producer may make a fairer profit? Is he prepared to emigrate from his homeland if necessary and if he is young, in order to help the emerging nations?
Figure out what something is worth and pay a lot less.
I wanted to pay homage to someone who was such an important literary figure in my life. I think Langston Hughes would be proud of the picture Black Nativity, yet it's a contemporary story about a family living in Harlem. I named the lead character Langston, put a little bit of poetry in there, and some Langston Hughes quotes, and, of course, his stage play, Black Nativity.
Maybe the given person, cup, or landscape is lost before one gets to painting. A figure exerts a continuing and unspecified influence on a painting as the canvas develops. The represented forms are loaded with psychological feeling. It can't ever just be painting.
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.
A work of art is worth what someone will pay for it.
It was a figure painting class, where you had a model, and [Robert von Neumann ] would wander around and he'd come up behind someone and say, "Well, what are you trying to do?" And if you told him what you were trying to do, he would then proceed to discuss this with you and suggest things that you might look at and ways in which you could improve what you were attempting to do, etc - never worked on your painting, never touched your painting but talked extensively about what you were trying to do.
When I go to an art gallery and stand in front of a painting, I don't want someone telling me what I should be seeing or thinking; I want to feel whatever I feel, see whatever I see, and figure out what I figure out.
I had the desire to paint the figure without actually painting the figure.
When I paint figures it's never the idea of painting the beauty of the figure, it is using the figure to get across how I feel.
In figure painting, the type of all painting, I have endeavoured to set forth that the principal if not sole source of life enchantments are Tactile Values, Movement and Space Composition.
I have never heard a dancer asking for advice about how to stay focused on her footwork, or a painter complaining about the dull day-to-day task of painting. What task worth doing isn't worth daily effort? Do you think Michelangelo was having fun the whole time he was on his back painting the Sistine Chapel's ceiling?
The flattery of posterity is not worth much more than contemporary flattery, which is worth nothing.
Picasso didn't stop painting when he was 41 years old because he felt he wasn't relevant, but he kept going and the painting he made before he died are now worth 40 million dollars.
It's a lifelong failing: she has never been prepared. But how can you have a sense of wonder if you're prepared for everything? Prepared for the sunset. Prepared for the moonrise. Prepared for the ice storm. What a flat existence that would be.
A painting that doesn't shock isn't worth painting.
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