Top 1200 Cave Paintings Quotes & Sayings - Page 17

You have to understand how the human eye behaves when it views a scene for the first time. Work with that knowledge, and your paintings will have more drama and will evoke strong reactions.

I've always tried to be very seductive. I want the paintings to draw you in. But I don't want to just glamour you. I want to make an image of the time we live in and reflect it back.

All German painters have a neurosis with Germany's past: war, the postwar period most of all, East Germany. I addressed all of this in a deep depression and under great pressure. My paintings are battles, if you will.

Most of my reading is based on what I'm working on. I did a series of paintings based on the seven deadly sins, so I read Dante and then Milton's 'Paradise Lost.' That was a bit hard going.

The notion that women are less aesthetically profound and innovative than men--just not very important, if you know what I mean--doubtless spreads back to our beginnings as upright animals: the males hunted and killed for the family while the females stayed home in the cave and tended the strange little creatures they were giving birth to.

In New York, I get a tremendous amount of ideas by looking at the paintings and the sculptures, adapting artistic endeavors to crafts. There is a lot of inspiration around us that we can see every day and turn into projects.

My paintings have an ongoing dialogue with photography. There are many painters who would say the same, I'm sure. The difference is that I'm thinking more about the temporal aspect of photography, rather than the visual.

My dad went to art school when I was one. They scraped and continued scraping, because artists, as we all know, don't earn a lot of money. It's a precarious existence and my mum didn't work, so dad sold paintings.

He didn’t know if that was really true or not, but he discovered something which was tremendously liberating: he didn’t care. He was very tired of thinking and thinking and still not knowing. He was also tired of being frightened, like a man who has entered a cave on a lark and now begins to suspect he is lost. Stop thinking about it, then. That’s the solution.

We work in this cave, and we speak to each other sort of subconsciously and with like, weird cues and tangential brother speak, but it really comes down to if you are the person who is moving amongst the actors and talking to people more, the other one can have a little more time to really watch.

My great-grandfather, Sam Aykroyd, was a dentist in Kingston, Ontario, and he was also an Edwardian spiritualist researcher who was very interested in what was going on in the invisible world, the survival of the consciousness, precipitated paintings, mediumship, and trans-channeling.

Small paintings can be fantastic. But you can't often get a narrative out of a small painting. In any case, museums are huge places, and you want to take up some space.

Red is one of the strongest colors, it's blood, it has a power with the eye. That's why traffic lights are red I guess, and stop signs as well... In fact I use red in all of my paintings.

The paintings to me are always canvas; sculpture has always been metal, though I have made sculpture in wood, also.

[My grandfather] was very, very fortunate that he was never trapped in a mining cave-in. But he lost his brother in a mining disaster on a shift that he wasn't working. And he was in a collapse where his brother-in-law was killed very near him in the same section.

And then I met Jerry and he's such a creative fiction writer, and I don't know if there's ever been a team put together the way we are - where one person does the theological way out and suggestions, and the other person goes into the cave and does the fiction writing.

Red is one of the strongest colors, it's blood, it has a power with the eye. That's why traffic lights are red I guess, and stop signs as well.... In fact I use red in all of my paintings.

Yet the love we experience through other people is just a shadow of the love of the inner self. There is a sublime place inside us where love dwells. The love that pulses in the cave of the heart does not depend on anything outside. It does not expect anything. It is completely independent.

I think of [my photographs] as found paintings because I don't crop them, I don't manipulate them or anything. So they're like found objects to me.

I try to create paintings that are a window for the imagination. If people look at my work and are reminded of the way things once were, or perhaps, the way they could be, then I've done my job.

I began observing, making paintings of my surroundings, taking a vow of silence, listening, composing music, writing, and making time for formal education. Then I started telling stories.

I have boxes full of stuff. Most actors do have a trunk full of stuff, paintings or scripts. It never comes to anything.

The oversized chairs are white; the walls, covered with occasional landscape paintings, are white; and the plush carpet is the whitest of all. I'm insanely glad I didn't bring a cup of grape juice with me.

Great art has dreadful manners. The greatest paintings grab you in a headlock, rough up your composure, and then proceed in short order to re-arrange your reality.

Since the tubes of paint used by the artist are manufactured and ready-made products, we must conclude that all the paintings in the world are 'ready-mades aided' and also works of assemblage.

Diwali is the period when your house is the cleanest and has a sparkly feel. So, whether it's the upholstery, curtains or paintings, each and every thing needs to be done up, even if it isn't being replaced with something new.

Just as the unmusical ear is not competent to judge music, so it is likewise with pictures, whether they are paintings, drawings or photos. Only a sensitive and trained eye gives us the right to judge.

This is the secret of spiritual life: to think that I am the Atman and not the body, and that the whole of this universe with all its relations, with all its good and all its evil, is but as a series of paintings...scenes on a canvas...of which I am the witness.

My writing and my paintings do not have a direct connection in my mind. But I am sure they influence each other in the measure that everything we do is linked to whatever we are, which includes whatever we have done or are doing.

The Internet is a crazy archive of a lot of old everything. Paintings, drawings, old, new, and everything in between.

Kaylee and Nash are like those rocks that ancient cave people used to make fire. Bang them together, and you get sparks." Sabine said. "Let's never again use the phrase 'bang them together' in reference to my brother and my girlfriend," Tod mumbled.

Retreating from the world will not liberate you. Happiness is not found in a secluded forest hut or isolated cave. Enlightenment comes when you connect to the world. Only when you truly connect with everyone and everything else do you become Enlightened. Only by going deeply and fully into the world do you attain liberation.

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.

I've always worked from images that already exist in our culture, and I just tweak them - I photograph my vision/interpretation of things that already exist, and I take it to the extreme. And then I make paintings or videos.

I believe the religion of Christ covers the whole man. Why shouldn't a man play baseball or lawn-tennis? ... Don't imagine that you have got to go into a cave to be consecrated, and stay there all your life. Whatever you take up, take it up with all your heart.

At its best, what art does is, it points to who we as human beings and what we as human beings value. And if Black Lives Matter, they deserve to be in paintings.

Many artists, having assimilated the Conceptualists' explorations to varying degrees, have reused the painterly model and use photography, quite consciously and systematically, to produce works that stand alone and exist as photographic paintings.

It wasn't really until after I got out of art school that I realized that I'd been doing that sort of for the audience, for that context. Somehow, being alone in the room, it made no sense at all to make those kinds of paintings.

The paintings to me are always canvas, sculpture has always been metal, though I have made sculpture in wood also.

Essentially, all expressions of human nature ever produced, from a caveman's paintings to Mozart's symphonies and Einstein's view of the universe, emerge from the same source: the relentless dynamic toil of large populations of interconnected neurons.

To make any future that we dreamt up real requires creative scientists, engineers, and technologists to make it happen. If people are not within your midst who dream about tomorrow - with the capacity to bring tomorrow into the present - then the country might as well just recede back into the cave because that's where we're headed.

It is better to have a good painting with ten holes than ten bad paintings without any holes.

I don't very much enjoy looking at paintings in general. I know too much about them. I take them apart.

I'm interested in how paintings can change or transform - sometimes through close examination or viewed from afar; or how they hold the space of a wall or interact in a room with each other.

[I] don't want people to see it [paintings] as a specific intention on my part. If somebody has that interest in these objects, of course they can see that, but from my own point of view, I'd rather stay as neutral as possible.

Worry, about the 'thousand and one' details entailed. My one-track mind has to be relieved of these worries completely or I cannot get started working on my paintings, or even get to sleep at night.

Willem de Kooning paintings are a language to be learned. When they were first shown, they were ridiculed as being just drips and splatters and splashes. You had to learn how to read them.

Dragons, you know, we have a good deal of biology and zoology about the dragon; we know their habits. The dragon tends to guard things, and he usually has these guarded in a cave... Now dragons don't know what to do either with beautiful girls or gold, but they just hang on. There are people like this. We call them creeps.

The paintings usually start as abstracts and then I look at them and look at them, and like a Rorschach test, I try and see what it is.

I don't know what motivated the artist, which means that the paintings have an intrinsic quality. I think Goethe called it the 'essential dimension,' the thing that makes great works of art great.

People used to give me pictures or paintings of me - they never look even close to what I look like.

I grew up with the idea of the cyborg and the robot, but at the same time I felt this intense disconnection between the things I was engaged with and inspired by in terms of fun and play. It seemed like paintings and drawings were so static.

Though I love the arts with all my heart - paintings, sculpture, theatre, and music - and think they are among the biggest achievements we humans can do, I am really convinced that architecture is among the most important.

I traveled to Morocco once, and I only saw one television when I was there, but I did go into this dirt cave and I saw this kid chopping tomatoes and pita, and he had a picture on the wall of Jean-Claude Van Damme holding a gun. That connected with him on the other side of the world, so no wonder these big movies are made - they have a mass appeal.

I like everything that has no style: dictionaries, photographs, nature, myself and my paintings. (Because style is violent, and I am not violent.)

Sometimes images may emerge from some chord in my subconscious, the way a dream might. Even in those paintings where an image unconsciously develops, a certain kind of experience is usually necessary in order to perceive it.

I am a simple man and I use simple materials: Ivory Black, Vermilion, Prussian Blue, Yellow Ochre, Flake White and no medium. That’s all I’ve ever used in my paintings.

I love to paint. It's more of a hobby, but people love the paintings so much that I end up selling whatever I paint.

I know well enough in advance that you'll find my paintings perfect. I know that if they are exhibited they'll be a great success, but I couldn't be more indifferent to it since I know they are bad, I'm certain of it.

Christ hath arisen! O mountain peaks, attest- Witness, resounding glen and torrent wave! The immortal courage in the human breast Sprung from that victory-tell how oft the brave To camp midst rock and cave, Nerved by those words, their struggling faith have borne, Planting the cross on high above the clouds of morn!