A Quote by Vinny Guadagnino

I enjoy painting and can copy almost anything. — © Vinny Guadagnino
I enjoy painting and can copy almost anything.
My room is dominated by the huge painting, which is a copy of 'The Violation' by the Belgian surrealist Paul Delvaux. The original was destroyed during the Blitz in 1940, and I commissioned an artist I know, Brigid Marlin, to make a copy from a photograph. I never stop looking at this painting and its mysterious and beautiful women.
Good painting is nothing else but a copy of the perfections of God and a reminder of His painting. Finally, good painting is a music and a melody which intellect only can appreciate, and with great difficulty.
Start copying what you love. Copy copy copy copy. At the end of the copy you will find your self.
What's burning down is a re-creation of a period revival house patterned after a copy of a copy of a copy of a mock Tudor big manor house. It's a hundred generations removed from anything original, but the truth is aren't we all?
A painting is above all a product of the artist's imagination, it must never be a copy. If, at a later stage, he wants to add two or three touches from nature, of course it doesn't spoil anything.
I enjoy painting. It's an incredible release of tension, and I feel very excited doing it. I squeeze out some wonderful red paint, and I get a thrill. My heart starts beating faster. It's almost a sensual thing working with these thick acrylic paints. I almost want to put my hands in.
You can't copy anybody and end with anything. If you copy, it means you're working without any real feeling.
Never draw anything you can copy, never copy anything you can trace, never trace anything you can cut out and paste up.
This is how it is with insomnia. Everything is so far away, a copy of a copy of a copy. The insomnia distance of everything, you can't touch anything and nothing can touch you.
I liked painting, very early on, even more than drawing. I used poster paint on posterboard. I would copy images that I liked from magazines and books and combine them to make a "collage" kind of painting. In some ways, this is similar to how I work today.
Almost as though the painting itself becomes the embodiment of a type of struggle for visibility, and this might be considered the main subject of the painting.
Remember the enemy of all painting is gray: a painting will almost always appear grayer than it is, on account of its oblique position under the light.
Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything.. ..A convent, a monastery, a phalanstery of painting where one could train together.. ..but no programme, no instruction in painting.. ..drawing is still alright, it doesn't count, but painting - the way to learn is to look at the masters, above all at nature, and to watch other people painting.
Painting is an illusion, a piece of magic, so what you see is not what you see. I don't know what a painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere.
I trained as a painter, and I still love painting, but eventually I became aware that the physical aspect of painting didn't really suit me. I didn't enjoy working in the medium. It's very messy. I prefer to have it clean, with a nice computer.
Copy is not written. If anyone tells you ‘you write copy’, sneer at them. Copy is not written. Copy is assembled. You do not write copy, you assemble it. You are working with a series of building blocks, you are putting the building blocks together, and then you are putting them in certain structures, you are building a little city of desire for your person to come and live in.
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