Top 1200 Drawing And Painting Quotes & Sayings

Without good drawing, the foundation of a painting will collapse.

It's all one to me: opera, painting, drawing, faxes.

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.

In printmaking, I essentially use the same process as in painting with one important exception ... to try, with sensitivity to the medium to emphasize what printing can do best ... better than say, painting or collaging or watercolour or drawing or whatever ... Otherwise, the artist expresses the same vision in graphics that he does in his other work.

I was always interested in drawing and painting. I enrolled in college to study painting. But I didn't have any livelihood when I graduated. My mother died very young, and I didn't have any home, so I had to find a way to earn a living. It seemed to me that photography - to the great disappointment, I have to say, of my painting teacher - could offer that. So I went and did a degree in photography, and then after that I could go out and get paid for work. For portraits, things like that.

In fact, I believe to a certain extent a person today who starts with just clay, with no drawing and no painting and no figure drawing, still-life drawing, various things, they miss a great deal.

Painting and drawing has been here for 35,000 years.

I would always be painting and drawing. If I was stuck at home, I was in the basement working on a painting.

I spent a lot of time being creative as a child - painting, drawing and writing poetry.

Seven days a week, I'm always drawing, doodling, or painting, whether I'm in the studio or on a plane.

I've been painting and drawing and taking pictures as long as I've been writing music - and I've actually been drawing longer than I've been writing music.

To draw does not simply mean to reproduce contours; the drawing does not simply consist in the idea: the drawing is even the expression, the interior form, the plan, the model. Look what remains after that! The drawing is three fourths and a half of what constitutes painting. If I had to put a sign over my door to the atelier, I would write: School of drawing, and I'm certain that I would create painters.

I've always loved painting and drawing. I wish I'd developed it more and exhibited.

I have a personal definition of cartooning, which is, simply, "imaginative drawing." Anything you're drawing that is not in front of you but is a mental construct that you want to express in a drawing is, to me, a cartoon.

I did photography, painting, and drawing, but I prefer sculpture. I like it because it's very physical.

I am trying to represent design through drawing. I have always drawn things to a high degree of detail. That is not an ideological position I hold on drawing but is rather an expression of my desire to design and by extension to build. This has often been mistaken as a fetish I have for drawing: of drawing for drawing’s sake, for the love of drawing. Never. Never. Yes, I love making a beautiful, well-crafted drawing, but I love it only because of the amount of information a precise drawing provides

When I'm painting and drawing I only do people. Acting is obviously portraiture - and writing is as well.

When you are older, you realise that everything else is just nothing compared to painting and drawing.

If you are intent on drawing or painting on your prints, you must first learn to draw and paint at least as well as you photograph.

Painting is drawing, with the additional means of color. Painting without drawing is just 'coloriness,' color excitement. To think of color for color's sake is like thinking of sound for sound's sake. Color is like music. The palette is an instrument that can be orchestrated to build form.

I haven't stopped painting or drawing - I've just added another medium.

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.

I went to the Chicago Art Institute, which was the best painting school in the area at that time. And I took painting classes - basic elementary painting classes and drawing classes of all sorts.

Drawing includes three and a half quarters of the content of painting... Drawing contains everything, except the hue

But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.

It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one.

Drawing or painting allows the artist to know himself as a whole person.

We struggle against easel painting not because it is an aesthetic form of painting, but because it is not modern, for it does not succeed in bringing out the technical side, it is a redundant, exclusive art, and cannot be of any use to the masses. Hence we are struggling not against painting but against photography carried out as if it were an etching, a drawing, a picture in sepia or watercolor.

On occasion I have drawn as a release from painting. The economy in using paper, pencil, charcoal and crayon can help towards a greater gamble and higher rewards. I also find that drawing can generate ideas more rapidly than painting.

While he writes, I feel as if he is drawing me; or not drawing me, drawing on me - drawing on my skin - not with the pencil he is using, but with an old-fashioned goose pen, and not with the quill end but with the feather end. As if hundreds of butterflies have settled all over my face, and are softly opening and closing their wings.

I felt the need to get back to painting and I thought the best way was to start drawing, so I enrolled in a life drawing class. I soon discovered that people made very interesting subjects and I am still surprised that I had never discovered it before.

The best way to understand a painting is by drawing it.

You can eliminate color and still have a painting that works, but you must have drawing, value and design.

My first artistic love was drawing and painting.

Painting is drawing, with the additional means of color.

I started when I was nine. Really, everything I know about color theory, composition, drawing, and painting, I learned when I was a kid.

Painting dissolves the forms at its command, or tends to; it melts them into color. Drawing, on the other hand, goes about resolving forms, giving edge and essence to things. To see shapes clearly, one outlines them--whether on paper or in the mind. Therefore, Michelangelo, a profoundly cultivated man, called drawing the basis of all knowledge whatsoever.

Painting, drawing - I'm really into photography, I've done it since high school.

Try drawing or painting a scene you're working on. Often this will help free up you imagination.

As a child, play, drawing, and painting were important to me - they still are.

I made a drawing for a book I'm working . It's a little drawing of a girl who's ashamed and upset and hides in the corner of the closet. It's the kind of drawing that I feel like I'm really good at.

I grew up with a pencil. A pencil was my computer at the time and so drawing, drawing, drawing and the tools of drawing where the usual ones and eventually then you graduated from the tools when the work increases and you start to draw by freehand as precise as possible and as accurate as possible, and I was pretty good at that.

Yeah, I mean I am somebody that makes an effort to go and see a lot of exhibitions, painting, drawing, sculpture.

I liked drawing and painting, because the only failure would be to listen to the doubters who wanted me to stop drawing and painting because 'you aren't going to make a living doing that.' I liked looking in art books at the work of painters.

In drawing after drawing, pastel after pastel, painting after painting, the contours of Degas's dancing figures become, at a certain point, darkly insistent, tangled and dusky. It may be around an elbow, a heel, an armpit, a calf muscle, the nape of a neck.

Not even pencil or charcoal is needed. Drawing can also be done with a brush. But drawing is a must, if not, no painting can resist.

I loved surrealism and abstract painting, and anything related to those. I always thought painting was the highest form of art. What led me to drawing was seeing so much self-important, pretentious, conceptual-type art in university. I wanted to reject that by making quick, fun art.

When I was in high school, I thought I might be an artist. I was very good at drawing and painting.

Sometimes people think drawing and painting is mucking about when actually it is a highly skilled activity.

Usually I begin things through a drawing, so a lot of things are worked out in the drawing. But even then, I still allow for and want to make changes. I kind of do the drawing with the painting in mind, but it's very hard to guess at a size or a color and the colors around it and what it will really look like. It's only a guess at the beginning, and then I try to refine it.

It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.

And after drawing comes composition. A well-composed painting is half done

Drawing is speaking to the eye; talking is painting to the ear.

You are not to think of painting as something separate from drawing.

There is a better chance of getting an exciting painting from a laboured study with texture than from a fine drawing without it.

One drawing demands to become a painting, so I start to work on that, and then the painting might demand something else. Then the painting might say, 'I want a companion, and the companion should be like this,' so I have to find that, either by drawing it myself or locating the image.

All I care about these days is painting — photography has never been more than a way into painting, a sort of instant drawing.

I wrote as a kid, but I never wanted to be a writer, particularly. I had been drawing and painting for years and loved that.

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.

There is no civilization that did not begin with art, Whether it was drawing a line in the sand, painting a cave or dancing.