A Quote by Willem de Kooning

I'd like to get all the colors in the world into one painting — © Willem de Kooning
I'd like to get all the colors in the world into one painting
Painting, like music, has nothing to do with the reproduction of nature, nor interpretation of intellectual meanings. Whoever is able to feel the beauty of colors and forms has understood nonobjective painting.
I think I'm just generally more interested in figuration than abstraction. I think that painting abstraction often feels like painting colors to me, whereas portraits always feel like something connected. I like the exchange, the collaborative aspect of sitter and subject for sure.
To me, writing and composing are much more like painting, about colors and brushes; I don't use a computer when I write, and I don't use a piano. I'm at a desk writing, and it's very broad strokes and notes as colors on a palette.
Little by little, I've reached the stage of using only a small number of forms and colors. It's not the first time that painting has been done with a very narrow range of colors. The frescoes of the tenth century are painted like this. For me, they are magnificent things.
I do not plan any painting, but begin with layers of textures and colors. As I layer the colors, something is suggested to me from within, and that is how it evolves.
Over time, I have come to see the work of literature less as narrating the world than "seeing the world with words." From the moment he begins to use words like colors in a painting, a writer can begin to see how wondrous and surprising the world is, and he breaks the bones of language to find his own voice. For this he needs paper, a pen, and the optimism of a child looking at the world for the first time.
Music is like creating an emotional painting. The sounds are the colors.
Objective painting is not good painting unless it is good in the abstract sense. A hill or tree cannot make a good painting just because it is a hill or tree. It is lines and colors put together so that they may say something.
In my experience a painting is not made with colors and paint at all. I don't know what a painting is; who knows what sets off even the desire to paint?
Simultaneous contrast is not just a curious optical phenomenon – it is the very heart of painting. Repeated experiments with adjacent colors will show that any ground subtracts its own hue from the colors which it carries and therefore influences.
I love the idea of renaissance. If my career is like painting a canvas, I want to have as many different colors in there as I can.
When I'm writing [songs], some days the pen just goes. I'm not in charge and I'm almost listening outside of it. That's when I realize that we all have to start looking at life as a gift. It's like listening to a color and believing that these colors have soul mates and once you get them all together the painting is complete.
I kind of do the drawing with the painting in mind, but it's very hard to guess at a size or a color and all the colors around it and what it will really look like.
The little may contrast with the great, in painting, but cannot be said to be contrary to it. Oppositions of colors contrast; but there are also colors contrary to each other, that is, which produce an ill effect because they shock the eye when brought very near it.
Who speaks of art speaks of poetry. There is not art without a poetic aim. There is a species of emotion particular to painting. There is an effect that results from a certain arrangement of colors, of lights, of shadows. It is this that one calls the music of painting
I stopped painting, not because I didn't like painting; the sensuality of it was fun. But I wasn't able to get to the point I wanted to.
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