A Quote by Wayne Thiebaud
I'm not just interested in the pictorial aspects of the landscape - see a pretty place and try to paint it - but in some way to manage it, manipulate it, or see what I can turn it into.
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Painting allows me to use other portions of my brain pleasurably. Irony plays no part in what or how I paint. I paint the particular subject matter not to make polemical points but because I am interested in the human imprint on the landscape. I paint the landscape of my time and place with the stuff in it.
Consequently, I get inspiration from all over the place. But it's not like a calculated thing on my part, or a way that I see myself, you know? I'm just interested in things that move me, and I don't care where they come from. In fact, I'm interested if they come from a place I wouldn't expect, or would seem foreign to me on some level.
I'm just a landscape painter. I look out the window and I see what's going on, and I paint it. While I'm painting it, I also write thoughts about what I see going on out there.
I'm excited to see what comes my way, see what I'm interested in next, and just see what happens.
It is impossible to describe a landscape so validly as to exclude all other descriptions, for no one can see the landscape in all its aspects at the same time, and no single view can prevent the existence and validity of other equally possible views.
The natural world is the only one we have. To try to not see the natural world - to put on blinders and avoid seeing it - would for me seem like a form of madness. I'm also interested in the way landscape shapes individuals and populations, and from that, cultures.
Impressionists have to paint with a very broad stroke because you've got to see it within a couple of seconds. You go, "That's a really funny Robert De Niro." As an actor, though, you look at different aspects of a character. I try to completely surround myself with the assignment. It's like being in a big cloud and then some of it rains through.
How to paint the landscape: First you make your bow to the landscape. Then you wait, and if the landscape bows to you, then, and only then, can you paint the landscape.
We sit at our consoles and play "Gears of War", but we don't see images from war. We don't turn on the news and see the evidence of war, the result of war. Maybe twice a year, Memorial Day, Veterans Day, we'll go out, we'll hang our flags, we'll try to inculcate in our children some sense of national honor for the fallen. But really, we don't see it. We just don't see the pictures. There's no drive-by on the freeway of death up close. So we don't really see bravery.
It's more impressive," I said out loud. "From a distance, I mean. You can't see the wear on things, you know? You can't see the rust or the weeds or the paint cracking. You see the place as someone once imagined it.
Golf is good, it means I get some fresh air and exercise, take my mind off work and see some of the landscape of the place I'm visiting.
It's always difficult to see yourself as other people do, but I'm realistic about my appearance. I wasn't born with one of those pretty, pretty faces, so I've never been absorbed with the way I look. I just try to make the most of what I've got.
If some people really see angels where others see only empty space, let them paint the angels: only let not anybody else think they can paint an angel too, on any calculated principles of the angelic.
What I so like about Poussin and Cezanne is their sense of organization. Ilike the way in which they develop space and shape in architecturalcontinuity - the rhythm across their paintings. When I paint a landscape, Iget the greatest pleasure out of composing it. As I paint, I try to work outa visual sonata form or a fugue, with realistic images.
There's so much power in the idea of becoming monstrous. I think we see that in the way some women and girls choose to adorn themselves now. They don't care about being pretty or palatable. They paint their lips black, dye their hair green, file their nails into claws.
Sometimes I see it and then paint it. Other times I paint it and then see it. Both are impure situations, and I prefer neither. At every point in nature there is something to see. My work contains similar possibilities for the changing focus of the eye.
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