A Quote by John Berger
In the average European oil painting of the nude the principal protagonist is never painted. He is the spectator in front of the picture and he is presumed to be a man.
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You have to be luxurious nude. It's difficult to move in the nude in front of a mirror. It's much easier to move when you're dressed. But if you can walk around in the nude easily in front of your man, if you can be luxurious in the nude, then you've really got it.
I've painted in the past, but I only average about one painting a year, and the last painting I did, I actually really liked.
Painting picture by picture, I followed the impressions my eye took in at heightened moments. I painted only memories, adding nothing, no details that I did not see. Hence the simplicity of the paintings, their emptiness.
I went to art school, and every Tuesday and Friday we drew the nude. If you look at Western painting, male and female nudes are in the center of every painting. It's difficult and exciting to draw the nude. Why get so upset about this? It's our duty to break taboos.
The only very marked difference between the average civilized man and the average savage is that the one is gilded and the other is painted.
My paintings have gotten to be pretty popular and I've taken a little bit more interest in painting the last few years. In fact, my novel that I wrote not too long ago, 'The Hornet's Nest,' I painted the cover picture for it and I do a good bit of painting now.
A story is told that Whistler once painted a tiny picture of a spray of roses. The artistry involved in the picture was magnificent. Never before, it seemed, had the art of man been able to execute quite so deftly a reproduction of the art of nature.
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
The spectacle of a judge pouring over the picture of some nude, trying to ascertain the extent to which she arouses prurient interests, and then attempting to write an opinion which explains the difference between that nude and some other nude has elements of low comedy.
You know, it's just like being a peddler. You want two breasts? Well, here you are -- two breasts. We must see to it that the man looking at the picture has at hand everything he needs to paint a nude. If you really give him everything he needs -- and the best -- he'll put everything where it belongs, with his own eyes. Each person will make for himself the kind of nude he wants, with the nude that I will have made for him.
Eloquence is a painting of thought; and thus those who, after having painted it, add something more, make a picture instead of a portrait.
When an artist paints a picture he does not want you to consider his personality as represented in that picture - he wants you to look at the beauty of that picture. No one cares who has painted the picture as long as it is beautiful.
No nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling... The desire to grasp and be united with another human is so fundamental a part of our nature that our judgement of what is known as 'pure form' is inevitably influenced by it, and one of the difficulties of the nude as a subject for art is that these instincts cannot be hidden.
When I'm painting the picture, I'm really painting a picture. I may have a flat-footed technique, or something like that, but still, to me, the thrill, or the meat of the thing, is the actual painting. I don't get any thrill out of laying it out.
Used to be, conservatives revered the Average American, that Norman Rockwell oil painting of diner food, humble faith, honest toil, and Capraesque virtue.
An artist painting a picture should have at his side a man with a club to hit him over the head when the picture is finished.
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