A Quote by George Herbert
On painting and fighting looke aloofe.
[On painting and fighting look aloof.]
Related Quotes
One learns about painting by looking at and imitating other painters. I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting.
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.
... painting a picture is like fighting a battle; and trying to paint a picture is, I suppose, like trying to fight a battle. It is, if anything, more exciting than fighting it successfully. But the principle is the same.
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.
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.
Now we have blacks and whites fighting, reds and yellows fighting, Democrats and Republicans fighting, men and women fighting.
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.
Just the way you might look at a painting and see the painting, and the painting is outside you, so this immaterial intellect would see the forms and behold them, as if they were standing before it. And Plotinus said that that can't be right because it falls prey to sceptical objections.
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.
The coming and going of birth and death is a painting. Unsurpassed enlightenment is a painting. The entire phenomenal universe and the empty sky are nothing but a painting.
When I look at a painting it isn't only the painting I see but the thing that I am. If there is more in the painting that I am, then I won't see it.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.
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.
I just realized that I never look at a painting and ask, 'Is this painting fictional or non-fictional?' It’s just a painting.
We have to do one thing at a time. We can't be fighting ISIS and fighting [Bashar]Assad. Assad is fighting ISIS. He is fighting ISIS. Russia is fighting now ISIS. And Iran is fighting ISIS.
We have to get rid of ISIS first. After we get rid of ISIS, we'll start thinking about it. But we can't be fighting [Bashar] Assad. And when you're fighting Assad, you are fighting Russia, you're fighting - you're fighting a lot of different groups.
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