A Quote by Tommy Cooper

I inherited a painting and a violin which turned out to be a Rembrandt and a Stradivarius. Unfortunately, Rembrandt made lousy violins and Stradivarius was a terrible painter.
Antonio Stradivari of Cremona, Italy, made about 1,200 violins, half of which still survive. After his death in 1737, factories churned out hundreds of thousands of copies. And every day, people bring violins with Stradivarius labels to appraisers, thinking they have bought the genuine article for a song.
If you have a Stradivarius and nobody to play it, it's just a Stradivarius. Or is it even that? It's nothing.
Art is not made only one way, art is a point of view? Rembrandt in our days would be Rembrandt again, because the work of the master is his self. But in order to be Rembrandt in ourdayshe would have used new ways that would give a new culture.
I always have loved the Stradivarius. My teacher, Josef Gingold, he had a Stradivarius. As a treat, he would put it under my chin and let me play a few notes, and I remember that feeling of the overtones, the complexity of the sound. It's like a great wine.
In the late 1600s the finest instruments originated from three rural families whose workshops were side by side in the Italian village of Cremona. First were the Amatis, and outside their shop hung a sign: "The best violins in all Italy." Not to be outdone, their next-door neighbors, the family Guarnerius, hung a bolder sign proclaiming: "The Best Violins In All The World!" At the end of the street was the workshop of Anton Stradivarius, and on its front door was a simple notice which read: "The best violins on the block."
You can simulate perfection, but it's not the same. Some one can do a copy of Rembrandt, but it's not a Rembrandt. It doesn't have the vibration or the power.
A lot of young painters love to incorporate celebrity. One idea of being a painter is to use what's happening at the time. Velázquez was painting of his time. And so was Rembrandt. And Francis Bacon was painting his time in London. He was a real mover, but he saw the insect in the rose. But yes, when I do a painting, I want to take the "I did this" out of it. That's why I started using chance, like the markings on the wood. I never wanted to compose.
For every wacky postcard, there's a million people waiting to buy it, and for every $10 million of those things, there's one Rembrandt. Purposely, I think I want to aim at doing something that a lot of people won't like. I'm just worried that it looks like I've compared my work with Rembrandt. "Gervais says he's better than Rembrandt!".
'Tis God gives skill, but not without men's hand: He could not make Antonio Stradivarius's violins without Antonio.
I don't think there's an illustrator who's as good as a Titian or a Rembrandt... but then, Rembrandt was a bit of an illustrator on the quiet, you know?
There is a childlike side in the work of the Dadaists, Klee, Miró, Calder and Picasso. I am trying to make things that are very, very serious, and what comes out of it is things that are quite friendly, gay, and sometimes even amusing. [Chaim] Soutine tried to work like Rembrandt, and yet there is nothing of Rembrandt in his pictures.
The same God who created Rembrandt created you, and you are as precious in God’s sight as Rembrandt or anyone else.
I gave up painting by 16. I secretly thought I would have been Rembrandt by then.
A friend of mine says his two favorite artists are Picasso and Rembrandt. Picasso because he paints the beautiful in such an ugly fashion. And Rembrandt because he paints the ugly so beautifully.
... Rembrandt is not a painter at all. He is a creator, who creates his beings, three dimensional living beings, on a two-dimensional flat surface which acts as a mute, and enforces silence on them.
Picasso, Michelangelo, possibly, might be verging on genius, but I don't think a painter like Rembrandt is a genius.
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