Top 1200 Beautiful Paintings Quotes & Sayings - Page 2

I think I tend to destroy the better paintings, or those that have been better to a certain extent. I try and take them further, and they lose all their qualities, and they lose everything. I think I would say that I destroy all the better paintings.

You were told how much space so it was a matter of whether you could send in two paintings or three paintings, you know, pending where the show was being held. You did submit work to be accepted. Once you were accepted that was it. You did your own selection of what went in.

I think I've identified as an artist since I was a baby - literally a baby. I made a book of drawings and paintings in pre-school. By the time I got to high school, I was completely enamored with art, doing paintings and portraits at lunchtime. I've been creating in some capacity forever.

The grey paintings, for example, a painted grey surface, completely monochromatic - they come from a motivation, or result from a state, that was very negative. It has a lot to do with hopelessness, depression and such things. But it has to be turned on its head in the end, and has to come to a form where these paintings possess beauty. And in this case, it's not a carefree beauty, but rather a serious one.

I think that each woman, whatever age, needs to recognize something good in her body. Someone has beautiful legs, someone has beautiful hair, someone else has beautiful decolletage or a beautiful waist or beautiful hands. Everyone has something great.

I have always wanted to make paintings that are impossible to walk past, paintings that grab and hold your attention. The more you look at them, the more satisfying they become for the viewer. The more time you give to the painting, the more you get back.

When we did Cubist paintings, our intention was not to produce Cubist paintings but to express what was within us. No one laid down a course of action for us, and our friends the poets followed our endeavour attentively but they never dictated it to us.

In my paintings, the question on whether figures are similar or not is not of any importance, the slightest change of figure or color can create a new painting and it doesn't really matter if a subject is revisited by an artist repeatedly. With enough time in between paintings, an artist can always bring to it something new.

It's difficult being a child actor. I don't think everything beautiful has to be exploited. Some things can be beautiful and left beautiful.

It is beautiful to talk about beautiful things And even more beautiful to silently gaze at them.

The paintings in our galleries are seen one day in bright sunshine and another day in the dim light of a rainy afternoon, yet they remain the same paintings, ever faithful, ever convincing. To a marvelous extent they carry their own light within. For their truth is not that of a perfect replica, it is the truth of art.

Until the late 1970s there'd either be only black or white in the paintings or if there were colours it would be a small amount, not a large area, and with the color separated from other colors by black or white (which is formula for Damien Hirst's successful dot paintings, incidentally).

The most beautiful sea hasn't been crossed yet. The most beautiful child hasn't grown up yet. The most beautiful days we haven't seen yet. And the most beautiful words I wanted to tell you I haven't said yet.

There's only one thing more beautiful than a beautiful dream, and that's a beautiful reality.

I'm expressing the feelings of mankind today through the Blue Dog. The dog is always having problems of the heart, of growing up, the problems of life. The dog looks at us and asks, 'Why am I here? What am I doing? Where am I going?' Those are the same questions we ask ourselves. People look at the paintings, and the paintings speak back to them.

I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things - genre paintings, historical paintings - the sort of derivatives we get in contemporary society.

I pay my models to work with me, so there becomes this weird sort of economic bartering thing, which made me feel really sort of uncomfortable, almost as though you were buying into a situation - which, again, is another way of looking at those paintings. The body language in those paintings is a lot more stiff.

To have beautiful lips, say beautiful things. To have beautiful eyes, look at people and see the good in them.

Why are numbers beautiful? It’s like asking why is Beethoven’s Ninth Symphony beautiful. If you don’t see why, someone can’t tell you. I know numbers are beautiful. If they aren’t beautiful, nothing is.

Often, I find it really hard to see what I'm doing when I'm in the thick of things. I can get too precious and have to force myself to put my paintings aside. There's a wall in my studio where I hang paintings that I think are done or nearly done. Over time, I'll realise which ones are working and which aren't.

There is an instinct for realism, a powerful drive to reproduce oneself. The fascination of photorealistic paintings lies partly in their apparent replication of life, but these are not merely replications. These paintings are often out of life scale, varying from over life-size to under life-size, from brilliant, heightened color to pale, undertone hues.

I don't need to go into office for the power. I have houses all over the world, stupendous boats... beautiful airplanes, a beautiful wife, a beautiful family... I am making a sacrifice.

I had a visit from an artist friend who basically said, "Your paintings are wonderful. Now stop." It did resonate with me. It hit on the percolating need for change that was already there. I got a little push. I did a group of the paintings early on that were among the best. It was sort of beginner's luck with these.

Traditional paintings have few figures in them and value negative space. Japanese calligraphy and brush paintings are in black and white. Haiku is the shortest poem form in the world. These are a few examples of a minimalistic aesthetic in Japanese art and culture.

Poetry offers works of art that are beautiful, like paintings, which are my second favorite work of the art, but there are also works of art that embody emotion and that are kind of school for feeling. They teach how to feel, and they do this by the means of their beauty of language.

I like all paintings. I always look at the paintings, good or bad, in barbershops, furniture stores, provincial hotels. I'm like a drinker who needs wine. As long as it is wine, it doesn't matter which wine.

It's three disparate elements: the stop sign, the stage paintings, and the skeleton paintings. Those are three sharp ideas, although none of them are necessarily good ideas. Tons of artists have made whole careers out of those three ideas.

She was beautiful, but not like those girls in the magazines. She was beautiful, for the way she thought. She was beautiful, for the sparkle in her eyes when she talked about something she loved. She was beautiful, for her ability to make other people smile, even if she was sad. No, she wasn't beautiful for something as temporary as her looks. She was beautiful, deep down to her soul. She is beautiful.

Up until 35 I had a slightly skewed world view. I honestly believed everybody in the world wanted to make abstract paintings, and people only became lawyers and doctors and brokers and things because they couldn't make abstract paintings.

It is beautiful, beautiful to give; one of the very most beautiful things in life.

They asked me to do a show, and I was planning on showing my figure paintings. But my friends told me I shouldn't - the paintings were good but a little old-fashioned. They said, "Why don't you show the other stuff?" I had also been making rather strange objects, more in the Freudian tradition.

I am a famous artist. I make millions. But I frequently see debut shows of unknown artists with prices that are double of mine... what they're really doing is barely getting by and helping me sell 1,000 paintings a year effortlessly, because they make my paintings look like such a bargain. Thank you to all the egotistical art students!

I look at my paintings for a very long time before letting them out of my studio. I like to get on the treadmill and look around at all of my paintings while I exercise. I try to stare them down to make them reveal their weaknesses. If they reveal weaknesses, they get repainted.

It may be a cliche, but cliche or not, I fear the day when the only marsh harriers or peregrines I can look at are in paintings by Joseph Wolf or Bruno Liljefors - and no matter how beautiful those works may be, life is the great thing: life, life, life.

The supreme question about a work of art is out of how deep a life does it spring. Paintings of Moreau are paintings of ideas. The deepest poetry of Shelley, the words of Hamlet bring our mind into contact with the eternal wisdom; Plato's world of ideas. All the rest is the speculation of schoolboys for schoolboys.

I don't buy art. I'd rather buy a beautiful location or a beautiful site than buy art. A beautiful home is like owning a beautiful painting, except you can live in it.

I want to make paintings full of colour, laughter, compassion and love. I want to make paintings that will make people happy, that will change the course of people's lives. If I can do that, I can paint for a hundred years.

You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.

A flower may be beautiful all on its own, but a person is never truly beautiful unless someone's eyes show him that he is beautiful.

What inspires me to paint is life, my emotions, through my paintings I want people to understand that life isn't always happy but you should be always hopeful that's why I use bright colors in my paintings, that's what I want people to feel about me and when they see my art.

I mean, these are really dedicated people [in Lovecraft Society] when it comes to [h.P.] Lovecraft. But in the top floor of the John Hay Library, you have all of Lovecraft's archives. And messing around in there, I noticed, I said, what are these paintings? And the librarian told me, "Well, those are Pickman's paintings." I said, "I thought this was like something he made up, like The Necronomicon, that kind of stuff." And he said no, that the guy actually existed.

Beautiful is what we see, More Beautiful is what we know, most Beautiful by far is what we don't

I think Edith Evans is the most marvelous actress in the world and she can look beautiful. People who aren't beautiful can look beautiful. She can look as beautiful as Diana Cooper, who was the most beautiful woman in the world.

You never, ever leave art school. It's important to keep finding inspiration. I look at YouTube videos and think, 'How would I do that?' I like experimenting with things. For instance, drying paintings off too quickly in a microwave can look strangely beautiful.

Beautiful rocks - beautiful grass Beautiful soil where they both combine Beautiful river - covering sky Never thought of possession, but all this was mine.

The noblest calling in the world is motherhood. True motherhood is the most beautiful of all arts, the greatest of all professions. She who can paint a masterpiece, or who can write a book that will influence millions, deserve the plaudits and admiration of mankind; but she who rears successfully a family of healthy, beautiful sons and daughters whose immortal souls will exert influence throughout the ages long after paintings shall have faded, and books and statues shall have decayed or been destroyed, deserves the highest honor that man can give, and the choicest blessings of God.

The earliest paintings I loved were always the most non-referential paintings you can imagine, by painters such as Mondrian. I was thrilled by them because they didn't refer to anything else. They stood alone, and they were just charged magic objects that did not get their strength from being connected to anything else.

I think the films and the paintings erase each other. The paintings are extremely slow and constantly going on in the studio - they're constantly regenerating themselves in this slow, monotonous way that's a physical struggle and can be a pain in the ass. They're all based on very specific math and diagrams. And the films, when I'm making them, are very fast, very collaborative, with a lot of improvisation.

Whatever can die is beautiful — more beautiful than a unicorn, who lives forever, and who is the most beautiful creature in the world. Do you understand me?

Up until 35 I had a slightly skewed world view. I honestly believed everybody in the world wanted to make abstract paintings, and people only became lawyers and doctors and brokers and things because they couldn't make abstract paintings

Beauty has became a pejorative word in art. It was not something one should aspire to, because it was pedestrian. Beautiful things became cheap and easy. If it's cheap and easy, then upper classes aren't going to aspire to it. So, they have to find something more esoteric. I wanted the paintings to be realistic enough that you would have the ability to forget that I'm showing them to you.

A photo is like a map, a way of giving me a foot into a kind of reality I want... I'm not trying to make paintings look like photos. I want to make paintings using photos as a reference, the way painters did when photography was first invented.

I say that in narrative paintings one should mingle direct contraries close by, because they produce strong contrasts with one another, and all the more so when they are very close together; that is, the ugly next to the beautiful, the big to the small, the old to the young, the strong to the weak; in this way you will vary as much as possible and close by.

I've said it before, but I'll say it again because you can't say it enough: Your skin is beautiful - dark, light, in the middle, whatever. Brown is beautiful. Your hair is beautiful. If you wear a weave, it's beautiful. If you choose to be natural, that's beautiful. Also, you are enough.

Heaven is a beautiful place to be, full of beautiful people having a beautiful time!

If someone stands in front of one of my paintings and says, 'This is just a mess', the word 'just' is not so good, but 'mess' might be right. Why not a mess? If it makes you say, 'Wow, I've never seen anything like that', that's beautiful.

Paintings are memories. Memories of the painter who painted them. Memories that can be shared as well. Paintings are things to remember things by.

I just like beautiful women. They don't have to be a celebrity, though... I mean, if they're beautiful, they're beautiful.

I think that each women, whatever age, needs to recognise something good in her body. Someone has beautiful legs, someone has beautiful hair, someone else has beautiful décolletage or a beautiful waist or beautiful hands. Everyone has something great.

Beautiful thoughts build a beautiful soul. ...There's always something beautiful to be experienced wherever you are.