A Quote by Howard Hodgkin
A painting is finished when the subject comes back, when what has caused the painting to be made comes back as an object.
Related Quotes
Each painting has its own way of evolving. When the painting is finished, the subject reveals itself.
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.
People are always trying to find the next groovy thing, and it hasn't gone back to painting... I'd like it to go back to painting. I'm sick of all this photography and video. There's so much of it, it's almost annoying.
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.
Photoshop came out of painting, and now it's going back to painting.
I hope to actually get back to painting someday... soon. I sort of transitioned into cartooning from painting.
Self-painting is a further development of painting. The pictorial surface has lost its function as sole expressive support. It was led back to its origins, the wall, the object, the living being, the human body. By incorporating my body as expressive support, occurrences arise as a result, the course of which the camera records and the viewer can experience
When I was painting, I was painting stories I was telling myself. When I look back at it, moving to writing was a very natural progression for me.
In the back of every painting there's an entire universe that makes it possible for the painting to be there: an army of conservators, technicians, people who maintain these things, the market.
When HSBC took the painting out of their building, they had to block the road and use a crane to bring the painting out from the window. They spent about 20,000 dollars just to get the painting out of the building! They said not to bring it back, and told Sotheby's to sell it immediately!
No matter what medium I'm using, or what subject I'm painting, I do retain a fairly set approach to painting.
When I was painting in art school - and I think many painters in the 1980s worked similarly - a finished painting would often be constructed from lots of other paintings underneath. Some of these individual layers of painting were better than others, but that was something that you would often only realise retrospectively.
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.
When I am finishing a picture, I hold some God-made object up to it - a rock, a flower, the branch of a tree or my hand - as a final test. If the painting stands up beside a thing man cannot make, the painting is authentic. If there's a clash between the two, it's bad art.
It is an intimately communicative affair between the painter and his painting, a conversation back and forth, the painting telling the painter even as it receives its shape and form.
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.
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