Top 766 Canvas Quotes & Sayings

You wind up creating from silence, like painting a picture on a blank canvas that could bring tears to somebody's eyes. As songwriters, our blank canvas is silence. Then we write a song from an idea that can change somebody's life. Songwriting is the closest thing to magic that we could ever experience. That's why I love songwriting.

I think creativity is something that best happens when you have clear parameters. If you're not confined by anything then it's meaningless. You've got to rap over the beat, or you've got to color within your canvas. You pick the canvas size first. That makes most sense to me.

This is about relationships, about the placement of potent colors and the canvas sparkling through. I want the eye to dance across the canvas but direct you, too.

The Value Proposition Canvas functions like a plug-in to the Business Model Canvas and zooms into the value proposition and customer segment to describe the interactions between customers and product more explicitly and in more detail.

At a certain moment the canvas began to appear to one American painter after another as an arena in which to act-rather than as a space in which to reproduce, re-design, analyze or express an object, actual or imagined. What was to go on the canvas was not a picture but an event.

Now the canvas is not just my country Pakistan, but now the canvas is the entire world. Now the canvas is the entire ummah (Muslim nation).

I work on stretched linen canvas, sized so that the surface already has a sense of tension when I begin. It is a very rich and reactive surface. I begin by drawing on the canvas with a kind of loose line, very simply and freely. I paint very thinly, which allows me to change the drawing if I want to.

I was always interested in language. I thought, why not? If a painting, by the normal definition of the term, is paint on canvas, why can't it be painted words on canvas?

The french fry is my canvas.

An empty canvas is full.

There is an exercise I teach at colleges: Get yourself a canvas and a bunch of acrylics and go into a very dimly lighted room. Dip a brush into one of the colors, slap it on the canvas, don't look, close your eyes, make a painting, don't look, turn the lights on and see what you've got. I think this releases people from the editor in their life that's always standing over their shoulder saying, "Oh, you don't have any talent; who do you think you are?"

I like a canvas to breathe and be alive. Be alive is the point. And, as the limitations are something called pigment and canvas, let's see if I can do it.

Never, never do I set to work on a canvas in the state it comes in from the shop. I provoke accidents - a form, a splotch of color. Any accident is good enough. I let the matiere decide. Then I prepare a ground by, for example, wiping my brushes on the canvas. Letting fall some drops of turpentine on it would do just as well. If I want to make a drawing I crumple the sheet of paper or I wet it; the flowing water traces a line and this line may suggest what is to come next.

Light is my brush. Film is my canvas.

Shapewear is the canvas and the clothes are the art.

An artist who wants to transpose a composition onto a larger canvas must conceive it over again in order to preserve its expression; he must alter its character and not just fill in the squares into which he has divided his canvas.

I hope and dream the time will come when serious artists will make marvelous pictures that will love and live in life-like manner and be far more interesting and wonderful than pictures you now see on canvas. I think if Michelangelo was alive today he would immediately see the wonders...The artist can make his scenes and characters live instead of stand still on canvas in art museums.

I advance all of my canvas at one time.

God's grace is painted on the canvas of despair.

My belief is that it is most important for an artist to develop an approach and philosophy about life - if he has developed this philosophy, he does not put paint on canvas, he puts himself on canvas.

I always get into arguments with people who want to retain the old values in painting - the humanistic values that they always find on the canvas. If you pin them down, they always end up asserting that there is something there besides the paint on the canvas. My painting is based on the fact that only what can be seen there is there... What you see is what you see.

When the face in the mirror doesn’t please you, turn it into a canvas.

The challenge of yoga is to go beyond our limits - within reason. We continually expand the frame of the mind by using the canvas of the body. It is as if you were to stretch a canvas more and create a larger surface for a painting. But we must respect the present form of our body. If you pull too much at once, we will rip the canvas. If the practice of today damages the practice of tomorrow, it is not correct practice.

I think we're all born with this huge canvas in front of us and the paintbrushes and the paint, and we choose what to put on this canvas.

... a canvas that I have covered is worth more than a blank canvas. My pretensions go no further; that is my right to paint, my reason for painting.

Just slap anything on when you see a blank canvas staring you in the face like some imbecile. You don't know how paralyzing that is, that stare of a blank canvas is, which says to the painter, ‘You can't do a thing’. The canvas has an idiotic stare and mesmerizes some painters so much that they turn into idiots themselves. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of `you can't' once and for all.

Most of the paint I use is a liquid, flowing kind of paint. The brushes I use are more a sticks rather than brushes – the brush doesn’t touch the surface on the canvas, it’s just above [so] I am able to be more free and to have greater freedom and move about the canvas, with greater ease.

Keep this little canvas, it is a promise for the future. When I say 'keep this canvas,' I mean for the influence on yourself. When one does a good thing, it's well to keep it to show how foolish we are at other times.

Subject becoming less relevant, each painting having a life of its own, each stroke leading to the next. It is more about the connection of body and spirit to canvas, over mind to canvas.

An epic is the canvas Brian DePalma paints on.

Many painters are afraid of the blank canvas, but the blank canvas is afraid of the truly passionate painter who dares-and who has once broken the spell of 'you can't.'

Put a colour upon a canvas - it not only colours with that colour the part of the canvas to which the colour has been applied, but it also colours the surrounding space with the complementary.

Whether you create, or you observe an objective piece of creativity, meditation should be the key. Without it, mind can only spread on the canvas its nightmares. Most of the paintings of the great painters like Paul Gaugin or Picasso are almost like vomit. They could not contain their agony and suffering - it was so much they threw it on the canvas to get relief. The real objective art is not a relief; it is not a sickness that you want to get rid of. It is a blissfulness that you want to share. And by sharing, it grows; you have more of it, the more it is shared.

The future remains uncertain and so it should, for it is the canvas upon which we paint our desires. Thus always the human condition faces a beautifully empty canvas. We possess only this moment in which to dedicate ourselves continuously to the sacred presence which we share and create.

I believe we create our own lives. And we create it by our thinking, feeling patterns in our belief system. I think we're all born with this huge canvas in front of us and the paintbrushes and the paint, and we choose what to put on this canvas.

Music is the application of sounds to the canvas of silence.

I've never found anything to be lacking in a blurry canvas. Quite the contrary: you can see many more things in it than in a sharply focused image. A landscape painted with exactness forces you to see a determined number of clearly differentiated trees, while in a blurry canvas you can perceive as many trees as you want. The painting is more open.

Money is like a canvas or a shape shifter. It's like whatever you project on that canvas, that's what money is for you. Really, in its essence it's power. Most people relate to money the way they relate to power. They either think other people have it, and they don't and they're mad about it, or they feel fearful of it like having it would be a burden or a responsibility.

Canvas. J.C. Penney. $3.98. You like?

Art wasn't for selling. Actually, we once did have an offer on Double Negative. Things could be sold actually - everything could be for sale. But we had very few buyers. I think it was Michael Heizer who said that the point was to have a bigger canvas, and I've used that expression quite a bit. But I was thinking today that a canvas has boundaries; it has limit to it. And for earthwork, it was the very openness and feeling that there were no boundaries that made it so exciting.

A blank canvas...has unlimited possibilities.

To a musician or songwriter, your canvas is silence.

Jazz can be a blank canvas full of possibilities.

To end up with a canvas that is no less beautiful than the empty canvas is to begin with.

I never know what I'm going to put on the canvas. The canvas paints itself. I'm just the middleman.

Star Trek' ushered in the end of the Westerns. Then the canvas switched to the sci-fi canvas.

Just dash something down if you see a blank canvas staring at you with a certain imbecility. You do not know how paralyzing it is, that staring of a blank canvas which says to the painter: you don't know anything.

A canvas is never empty.

I put on the canvas whatever comes into my mind.

When I was in art college, I would be painting, and I would create something on a canvas that was actually quite attractive. But if I got frightened and tried to protect that, that canvas would die.

This world is but a canvas to our imagination.

Colour, as the strange and magnificent expression of the inscrutable spectrum of Eternity, is beautiful and important to me as a painter; I use it to enrich the canvas and to probe more deeply into the object. Colour also decided, to a certain extent, my spiritual outlook, but it is subordinated to life, and above all, to the treatment of form. Too much emphasis on colour at the expense of form and space would make a double manifestation of itself on the canvas, and this would verge on craft work.

My face is almost like a canvas - a blank canvas in the sense that the hair on my face is very, very fine and my skin is incredibly fair and my hair is quite dark, and that's very unusual.

We're an industry obsessed with the storytelling side of things, the content. And then we got obsessed with the canvas. Is it going to be on television? Is it print? And now the canvas is mobile. But what we really need to think about is the context. The context is where and when the person is consuming it - location, time of day.

Every canvas is a journey all its own.

No one would want to pay a penny for an empty canvas by me. But it would be quite another if the empty canvas were signed by a great artist. I would be surprised if an empty canvas by Picasso or Matisse signed and inscribed with the words, 'I wanted to paint such and such on this canvas, but did not do so,' would not fetch thousands... After all, with an empty canvas, the possibilities are limitless, and so perhaps is the cash.

Chase used to say, 'When you're looking at your canvas and worrying about it, try to think of your canvas as the reality and the model as the painted thing.'

A canvas is an arena in which to act.

Sargent, when he painted the size of life, placed his canvas on a level with the model, walked back until canvas and sitter were equal before his eye, and was thus able to estimate the construction and values of his representation.

I'll take anything and slap it on a canvas.