Top 1200 Cave Paintings Quotes & Sayings - Page 20

My band's motto is 'Yngwie or the highway.' Do you think Leonardo Da Vinci allowed someone who came later to add to his paintings? It's impossible. That's the whole issue. I'm not a typical rock n' roll guitarist nor a simple band member.

I was in New York City and my sister and cousin came out to see me, and I brought a guitar on stage. But all the audience wanted was for me to play so they weren't listing to anything I was saying, I bombed hard. On the cab ride home, my sister pulled a sticker off the cab and put it on my guitar which I still have today in my man cave.

Take two paintings by the same artist, one has a signature and the other doesn't. The signed picture is generally more valuable. The signature is almost graffiti or a tagging system, yet it can become more important than the subject.

Mom and I often talked about the trip we'd someday take together to the 'city of eternal spring' where she was born. In Kunming, she said, the fruits are sweeter, the mountains look like Chinese paintings, and the weather is always perfect.

My adrenaline started pumping anytime I was within a hundred yards of a bookshop. I loved books nearly as much as I loved clothes. And that's saying something. The feel of them and the smell of them. A bookshop was like like an Aladdin's Cave for me. Entire worlds and lives can be found just behind that glossy cover. All you had to do was look.

When I started my own practice, I was criticized, not because I was doing product design but because, like Le Corbusier, I was insisting on paintings in all of my buildings. I would paint wall murals in the houses that I designed, just as he did in the '20s and '30s.

I believe in originality, primarily. However, it's important to know what there has been before to aim in that direction. Art history informs us. It informs our mind. I like to look at books, exhibitions, paintings, as a computer, subconsciously taking on information.

Sol LeWitt had a huge influence on my work because of his use of repetition and his clarity, setting up a system and letting that system go. That's kind of where the text paintings came from.

Whether Osama bin Laden is doing it cynically and has no interest in these matters, or whether he's doing it out of genuine conviction, his voice has a tremendous resonance throughout the Arab world. One editorial in a Lebanese paper said it is a matter of great humiliation for the Arabs that the only man who can outline, truthfully, what our humiliations are is an Arab who has to say it from a cave in a foreign country.

What I saw next stopped me dead in my tracks. Books. Not just one or two dozen, but hundreds of them. In crates. In piles on the floor. In bookcases that stretched from floor to ceiling and lined the entire room. I turned around and around in a slow circle, feeling as if I'd just stumbled into Ali Baba's cave. I was breathless, close to tears, and positively dizzy with greed.

Some of the pictures are truly mysterious to me.. which is why I so often say publicly that I don't know or don't care what they're really about. And yet I can also say that the paintings are prayers.. that they have to do with whatever it is that makes you want more than what daily life affords.

Take the birds which you'll have noticed in so many of my recent paintings. I never thought them up, they just materialized of their own accord; they were born on the canvas... it is absurd to read any sort of symbolic significance into them.

If talking about arts means being pretentious, a bit like being a wine critic, then I don't feel comfy with that. You can get a lot from paintings without getting mystical about brush strokes.

I feel like I have to avoid certain thrift store-isms, having been known for the thrift store paintings. It's like I have to not paint that way.

Imagine an American Hans Christian Andersen, conceive of the Brothers Grimm living in Missouri, and you will approximate Howard Schwartz, a fable-maker and fable-gatherer seduced by the uncanny and the unearthly. In Lilith's Cave, he once again reaches into a magical cornucopia of folklore and fantasy and spreads before us, in enchanting language, the marvels and shocks of dybbuks, ghosts, demons, spirits, and wizards.

Gwen smiled. "Hardly. Bedraggled is being in the full throes of nicotine withdrawal, and after a week on a bus with a group of senior citizens, falling into a cave, and landing on a body." "And then getting tossed back a few centuries, with no idea of what's going on," Chloe agreed. "Naked, too, weren't you?" Gwen nodded wryly. Gabby blinked. "I gave you my plaid," Drustan protested indignantly.

I gave up on the idea of making art a long time ago, because I wanted to know how to make paintings; but once I came to know that, reconsidering the question of what art is returned as a critical issue.

How could Michelangelo have seen his David in a block of marble? Man began to make images only because he discovered them nearly formed around him, already within reach. He saw them in a bone, in the bumps of a cave, in a piece of wood. One form suggested a woman to him, another a buffalo, still another the head of a monster.

Picasso's always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.

The value of writing about art is its effect on the imagination. Paintings allow us to inhabit another culture, place, and time period, and address the issues of those time periods that resonate with our own time.

I don’t like to talk about what my paintings mean since they are so personal, so I like to leave it up to the viewer’s interpretation. It’s very strange to pour your heart out onto canvas and then put it on display for the whole world to see.

I can't make things I don't feel passionately about. I've never been able to. Years ago when I was going through college, I was trying to earn some extra money by making motel paintings and it was the hardest work I've ever done in my life, psychically. It was just torture.

I've painted, but I've also done graphics since as long as I can remember. So even people with little to spend could afford it. But even the graphic works are only bought by those who buy the big, expensive paintings. I think that's troublesome.

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.

I'm working hard with more determination than ever. My success at the Salon led to my selling several paintings and since your absence I have made 800 francs; I hope, when I have contracts with more dealers, it will be better still.

I'm a painter, that's where I started out, at four years old, that was my first love as far as expression. So, I'm not a painter in the sense of, "Please come see my paintings" but, I do understand the value of not looking over the artist's shoulder while the work is in progress.

The architect who first inspired me to follow this profession was Sir John Soane and his Regency home; well, his three homes, now a museum. The place is like an encyclopedia of paintings, antiquities, furniture, sculptures, and drawings.

I was an abstract expressionist before I had seen any abstract expressionist paintings. I started when I was a kid and continued just doing abstract stuff all through high school.

Dwight is a sad clown. You've seen those paintings of sad clown.

The visual palette suggests the creepy pastel paintings of Guy Peellaert (Rock Dreams); the fantasy battles with monsters and samurais echo the muscular landscapes of Frank Frazetta and Boris Vallejo. The movie is like an arrested adolescent's Google search run amok.

Even his hair was bigger—a massive globe of blue-black frizz so thick that his lobster-claw horns appeared to be drowning as they tried to swim their way to the surface. “Is that why they named you Aphros?” Leo asked as they glided down the path from the cave. “Because of the Afro?” Aphros scowled. “What do you mean?” “Nothing,” Leo said quickly.

Nothing so clearly and inevitably reveals the inner man than movement and gesture. It is quite possible, if one chooses, to conceal and dissimulate behind words or paintings or statues or other forms of human expression, but the moment you move you stand revealed, for good or ill, for what you are.

Thunder is no longer the voice of an angry god... No river contains a spirit... no snake the embodiment of wisdom, no mountain cave the home of a great demon. No voices now speak to man from stones, plants and animals, nor does he speak to them thinking they can hear. His contact with nature has gone, and with it has gone the profound emotional energy that this symbolic connection supplied.

My core competency has really informed my painting. The roots of editing stem from classical paintings - classic painters intended to drive your eye from this conflict to that intrigue, ending with a caprice. That is a montage, that is editing. It became a flipbook in later generations.

No one who looks at my paintings can see whether a painting is upside down or not anymore. I've made or developed so many image models that some people have given up trying to keep track of me. But others have only one or two ways of doing things and are successful with that.

He [Michael Jackson] would choose specific moments. They were art history books that I prefer. They were paintings that he prefers. It's this dance back and forth. We were halfway through the dance. He died.

As much as I love performing, nothing juices me up creatively like being in my own studio for an extended period. Songs, ideas, even paintings are pouring out of me. My inspiration and usual subject matter: life.

In truth, the best long-term explanations about our ancient counterparts can be found in the paintings, sculpture, crafts, tools of utility, language and architecture left behind. These are the building blocks of civilization we call culture. These are what we call 'the arts.

Movie actors disappear - any young person wouldn't know Cary Grant. They're going to disappear. Fifty years ago, you thought film was here to stay. But nothing is here to stay, actually - except perhaps paintings and drawings.

I thought art was dead rabbits hanging by their feet on a wall. I went to Italy and saw all the religious paintings, and they didn't move me all that much. Then someone invited me to see this van Gogh exhibit at the Rosenberg Gallery in San Francisco.

It's all about commerce. Movies are not made like paintings, where you can make them for free and put them at the side. Movies are supposed to make money.

When my kids were young, we used to go to a place called The Shrine of the Black Madonna in Houston. It was an African-American bookstore where they sold paintings, but they also had a room that was an all-purpose center. If you wanted to have a dance recital or anything that was related to the community activities, you could have it there.

I'm a huge science fan; I read a lot of science books. But I'm not a scientist, my interest in science is I love the facts, but I like to interpret those facts. They become the raw materials for stories and paintings and things.

You have to love dancing to stick to it. It gives you nothing back, no manuscripts to store away, no paintings to show on walls and maybe hang in museums, no poems to be printed and sold, nothing but that fleeting moment when you feel alive. It is not for unsteady souls .

The political topicality of my October paintings means almost nothing to me, but in many reviews it is the first or only thing that arouses interest, and the response to the pictures varies according to current political circumstance. I find this rather a distraction.

I thought, enough of this, I'm not an abstract painter, what the hell am I going to do? Should I get a job in a shoe store, sell real estate, or what? I was really depressed by the whole thing, because I felt like a painter, yet I couldn't make paintings.

My aim is increasingly to make my photographs look so much like photographs [rather than paintings, etchings, etc.] that unless one has eyes and sees, they won't be seen - and still everyone will never forget having once looked at them.

I’m the least fanciful guy around, but on nights when I wonder whether there was any point to my day, I think about this: the first thing we ever did, when we started turning into humans, was draw a line across the cave door and say: Wild stays out. What I do is what the first men did. They built walls to keep back the sea. They fought the wolves for the hearth fire.

The enjoyment we get from something is powerfully influenced by what we think that thing really is. This is true for intellectual pleasures, such as the appreciation of paintings and stories, and it is true as well for pleasures that seem simpler and more animalistic, such as the satisfaction of hunger and lust.

The narrative oftentimes is that everything that comes out of the hood is 'real,' and so I thought, 'I'll base it on the absurd, the not real. I'll twist the idea of real on its head and see if I can get away with it. I'll make paintings that come not from a place but through an abstract gaze.'

The way I create music is maybe like a painting, to compose in a more visual way. Basically it's the music that I want to hear- that's my inspiration and bottom line. I just try to get ideas from books, movies, paintings.

How many of the people I know - sons and daughters - have intricate abstract expressionist paintings of their mothers, created out of their own emotions, attitudes, hands. And how many have only Polaroid pictures of their fathers.

Through the 13th century, paintings of Angels exhibit a predominantly masculine appearance. Over the next 300 years, their images become more delicate, gentle, and feminine, until Angels are shown as androgynous or even distinctly female.

In the studio, it took me a long time to work out how to make paintings that had the intensity that I was able to create by painting whole rooms. There is a very limited number of colours but there are many variations. I decided to use the purest palette that I could.

As far as I was concerned, with the early paintings, I liked them, I thought they were pretty good, but I didn't think it was the end of the world. I also thought of it as a kind of structure, a base to build on. So this proves I can do this and that, and they don't collapse, so then what can I do from here? How can I build on it?

It's a fantastic mirror to us to engage with art, to engage with paintings that are about tragedy, to go see Shakespearean comedies, to read a Greek play... We have always investigated the lightness and darkness of the human soul, in all these forms. So why not do it on television?

I picture heaven as a vast library, with unlimited volumes to read. And paintings and statues to examine galore. I picture it as a great doorway to learning...rather than one great dull answer to all our questions

I like to add props to render the specificities of place - paintings, food, clothing, signs, infrastructure, music, sayings and slang particular to the region and particular to the character. And props shouldn't just sit there; they should get used.

For a while, Mirabelle believes there will be a moment when he will cave in and let himself love her, but eventually she lets the idea go. She hits bottom. She dwells in the muck for several months, not depressed exactly, but involved in a mourning that at first she thinks is for Ray but soon realizes is for the loss of her old self.

Western progress (from one damned thing to another) seems to be essentially the MO of nowhere fast. But, on the other hand, the don't-set-foot-outside-your-own-village/cave ideal or injunction that you find in Buddhism and even in the Daoism of which I'm fonder, seems . . . defeatist. And more than that, it is in contradiction to what nature actually does. Somewhere, somehow, I feel as if these two opposing principles have to be reconciled.