Top 1200 Beautiful Paintings Quotes & Sayings

I wanted to show painting paintings first, then the plate paintings; now I can show that I've sort of freed myself from stylistic inhibitions.

My dad is a sculptor and a painter, and mum runs an art gallery, which sells beautiful jewelry and ceramics and paintings - local and international.

I enjoy thinking about how paintings can change depending on where they are - how they look in a gallery or in relation to other paintings, or in different rooms. Paintings can change the way we experience and see the world.

People go to see beautiful paintings to see how much they cost. Wow. The practical value is that it shows you what the human spirit can do.

I experience a period of frightening clarity in those moments when nature is so beautiful. I am no longer sure of myself, and the paintings appear as in a dream.

Van Gogh was asked how he created such beautiful paintings. He said I dream my paintings and then I paint my dreams.

The black person is the protagonist in most of my paintings. I realized that I didn't see many paintings with black people in them.

It fascinates me to create beautiful paintings with the simplest means.

This morning I got up early and I was glazing the paintings and they just looked so beautiful. I had a private moment of "yeah, I'm behind this." Which is all that matters as an artist, to believe in what you're doing. It sounds like an obvious thing but it takes a lot of work.

One of the questions that I hear over and over and over is, 'What do we do with all these paintings we do on television?' Most of these paintings are donated to PBS stations across the country. They auction them off, and they make a happy buck with 'em.

Beautiful jewelry, a beautiful room - that's what museums are - a beautiful painting, a beautiful face, it makes you feel good to look at, and that's a beautiful thing.

I love beautiful things. I'm not into art so much, like paintings.

These are the beautiful people, who, befitting their rank as gods and goddesses of a powerful modern mythology, lead beautiful lives in beautiful houses, attired in beautiful clothes and, ostensibly, thinking only beautiful thoughts.

In our own time it has been seen... that simple children, roughly brought up in the wilderness, have begun to draw by themselves, impelled by their own natural genius, instructed solely by the example of these beautiful paintings and sculptures of Nature.

The paintings are not just on flat walls - you have these enormous niches, bulges and protrusions, as well as stalactites and stalagmites. The effect of the three-dimensionality is phenomenal. It's a real drama which the artists of the time understood, and they used it for the drama of their paintings.

I stopped painting in 1990 at the peak of my success just to deny people my beautiful paintings, and I did it out of spite.

They were wrestling with canvases, using violent colors and huge brush strokes. I arrived with gray, silent, sober, oppressed paintings. One critic said they were paintings that thought.

Each painting is its own world, but a lot of times I do see the paintings as one page from a story. You can imagine what has happened before or after. Sometimes they are worded as being a part of a story, especially the paintings where characters are in conversation.

I used to do stop motion in my own garage and Claymation and all that stuff. That led to doing backgrounds and matte paintings. I started doing matte paintings professionally back before the computer, sort of painting on glass.

A New York audience generally likes decorative paintings, and decorative paintings go with the couch. If you change the couch, you change the painting. And when you're coming up, and the paintings aren't first-class decoration, you're at a disadvantage for publicity and sales.

What is beautiful for you may not be beautiful to someone else. Or whatever is beautiful here may not be beautiful there and what is sometimes beautiful today is not necessarily beautiful tomorrow. Perhaps this is the story of fashion and what makes it move forward, the fact that there is no decision whatsoever with what’s wrong.

I was a student, and as such you generally rely on prior models of how to make art, but these were not satisfying. Then I discovered in photos what had been missing in paintings; namely that they make a terrific variety of statements and have great substance. That is what I wanted to convey to paintings and apply to it.

I don't paint over my paintings with black paint. I paint black paintings. It isn't because I'm sad, just as I didn't paint red paintings yesterday because I was happy. Nor will I paint yellow paintings tomorrow because I'm jealous.

Unlike the background in many of the paintings that I was inspired by or paintings that I borrowed poses from - the great European paintings of the past - the background in my work does not play a passive role.

People are still making paintings. People are still enjoying paintings, looking at paintings. Paintings still have something to tell us. There's a way of being in the world that painting brings to us, that painters bring to the task that we absorb and are able to be in dialogue with. That's something that's part of us.

The paintings of Francis Bacon to my eye are very beautiful. The paintings of Bosch or Goya are to my eye very beautiful. I've also stood in front of those same paintings with people who've said, 'let's get on to the Botticellis as soon as possible.' I have lingered, of course.

I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason.

The Japanese have a wonderful sense of design and a refinement in their art. They try to produce beautiful paintings with the minimum number of strokes.

Pictures of Amazons on vase paintings always show them as beautiful, active, spirited, courageous, and brave.

All photographs are there to remind us of what we forget. In this - as in other ways - they are the opposite of paintings. Paintings record what the painter remembers. Because each one of us forgets different things, a photo more than a painting may change its meaning according to who is looking at it.

I stopped painting in 1990 at the peak of my success just to deny people my beautiful paintings. And I did it out of spite.

The spot paintings, the spin paintings, they're all a mechanical way to avoid the actual guy in a room, myself, with a blank canvas.

One of Cezanne's unfinished paintings... appears to be a completed work even though only a few strokes of paint have been put down. My methods are similar... I expect each of my paintings to appear whole in every stage.

I believe that 100, 200, 300 years from now, all these paintings will be around because they're the first paintings of humans doing things off this Earth.

I bought a painting in Madrid on my first trip there too and a lot of people say, 'Well it's not the greatest painting' and I say, 'It is to me.' OK, you can look at a beautiful painting and say, 'That's beautiful' but to me, it feels warmer to fill my home with pictures of friends and family and paintings of places I've gone. That's what I want to come home to.

Paintings, people really don't understand... They don't really get paintings. Quilts they do understand because everybody has a quilt in their house.

My paintings are the last paintings one can make.

I want to create a thousand paintings, maybe two thousand paintings, as many as I can draw.

You have to act and this is something that happened in abstract expressionism too, it was a discovery particularly in De Kooning's paintings, great paintings. There's a lot of speed in his work and the speed produces things that only speed can produce.

I always liked paintings to be walls rather than windows. When we see a painting on a wall, it's a window, so I often put my paintings in the middle of the space to make a wall.

Chris Ofili's suave, stippled, visually tricked-out paintings of the nineties, with their allover fields of shimmering dots and clumps of dung, are like cave paintings of modern life. They crackle with optical cockiness, love, and massive amounts of painterly mojo.

My movies are film-paintings - moving portraits captured on celluloid. I'll layer that with sound to create a unique mood -- like if the Mona Lisa opened her mouth, and there would be a wind, and she'd turn back and smile. It would be strange and beautiful.

Modern paintings often seem to have been made quickly, by comparison with the paintings of earlier centuries, and that seems to give us the license to look at them quickly - to consume them and move on.

The spot paintings and spin paintings were trying to find mechanical ways to make paintings.

I like eating out. I like buying beautiful paintings and being surrounded by beautiful things. I have to finance that life. I can barely afford a pension scheme because I don't make enough money.

I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.

Some people might think that the paintings are involved with a mythic - not just subject matter - but a certain sort of physical space that the paintings occupy...like personages.

My early paintings weren't that good - I was very influenced by Francis Bacon. But there was a kind of intensity there. And however influenced they may have been by other people, even my earliest paintings were recognisably my own.

I'm just really impressed by oil paintings - I don't see how people do it! That's the style I like: classic oil paintings. Abstract art just isn't my thing.

I have some beautiful 20th-century drawings and a few paintings, but I'm not a collector, and I'm not particularly attached to objects.

A role is a role where I play someone else, but when it comes to paintings, it is me. It is unadulterated Shefali and there is no control and I can let go. I am unabashedly unapologetic about it. That is what is interesting about my paintings.

When I started to do these Pop paintings seriously, I used all these other paintings - the abstract ones - as mats. I was painting in the bedroom, and I put them on the floor so I wouldn't get paint on the floor. They got destroyed.

In Germany, we often hear the absurd complaint that museums don't have the money to buy paintings. Of course, I'm not talking about me and my paintings. There are, after all, more popular painters in this country.

I will always find even the worst paintings that attempt some kind of representation better than the best invented paintings.

I like the idea that paintings are not representations of an artist's psyche. Making the paintings is what gives the artist her psyche in the first place.

I want to make beautiful paintings. But I don't make beautiful paintings by putting beautiful paint on a canvas with a beautiful motif. It just doesn't work. I expect my paintings to be strong and surprising.

Clare Henderson creates the most beautiful delicate prints and paintings.

I'm using the grid as formation. I wanted a relationship between the paintings and videos so that way when you are looking at the videos there's a direct relationship to the paintings.

Actually, you want to go into an area where you're frightened. Otherwise, you're just going to be repainting beautiful paintings, but a little duller each time.

If you look at the paintings that I love in art history, these are the paintings where great, powerful men are being celebrated on the big walls of museums throughout the world. What feels really strange is not to be able to see a reflection of myself in that world.