A Quote by Tom Thomson
I'll stick to painting as long as I can.
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I attended the High School of Industrial Arts and studied with many great artists as painting is something that you never stop learning about. Actually, in high school there was a time that I was thinking about just concentrating on painting and I asked my music teacher, Mr. Sondberg, for advice and he encouraged me to stick with the music as well. So all my life I have been singing and painting.
I tried different techniques during my career, but I especially fell in love with painting with oil and pallette-knife. Every artwork is the result of long painting process; every canvas is born during the creative search; every painting is full of my inner world.
You have no idea about presents or what they mean. The last present you gave me was a stick.” “You wanted a weapon.” “It was a stick.” “It had a bow on it.” “It was a stick.” “I thought you liked the stick. You laughed.
When the painting is hanging on your wall for a long time, you don't notice it. You get tired of it, even if it's a Picasso. When the next generation inherits the painting, they sell it. I don't want to be sold.
It is so hard and long before a student comes to a realization that these [first] few large simple spots in right relations are the most important things in the study of painting. They are the fundamentals of all painting.
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
Painting from life is a completely different monster, which I like. But because I've been painting from photography for so long, I've learned my best moves from photography.
I stick the collages on the wall and, if I still like them after a month or two, I make a painting.
Our experience of any painting is always the latest line in a long conversation we've been having with painting. There's no way of looking at art as though you hadn't seen art before.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
I feel like what's most important for painting - which has been hierarchically on the top for a really long time in terms of what is considered fine art, by comparison with something like a comic book or what's considered low art - is that painting should open up laterally to include other cultures and things that don't immediately resonate as a painting but are obviously of equal contribution to the genre.
So long as painting deals with objective nature, it is an impure art, for recognizability precludes the highest aesthetic emotion. All painting, ancient or modern, moves us aesthetically only in so far as it possesses a force over and beyond its aspect.
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.
I don’t trust painting. At least not in New York. Most painting here relies on formula and repetition, whoring itself to the market. There seems to be no risk and once a painter gets a strategy, very little exploration. As a result, I stopped thinking about painting a long time ago. I prefer forms of art that are more market-resistant, more idea-based, more - for lack of a better word - risky.
[ Billy Graham ] is a hero to us all. His life of integrity. Somebody that can stick with it for that long and just stick with his message. What I love about Dr. Graham is he stayed on course. He didn't get sidetracked.
I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.
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