Top 1200 Landscape Painting Quotes & Sayings - Page 3

I'm painting an idea not an ideal. Basically I'm trying to paint a structured painting full of controlled, and therefore potent, emotion.

I've just kept on ceaselessly painting in order to learn painting.

When HSBC took the painting out of their building, they had to block the road and use a crane to bring the painting out from the window. They spent about 20,000 dollars just to get the painting out of the building! They said not to bring it back, and told Sotheby's to sell it immediately!

Sometimes you look at a painting and certain parts are so beautiful. You say, "Wow, this is fantastic," but 10 minutes later you most likely have to kill it. Every painting wants to live. You want to build and bring this type of painting to the climax. When it's at the highest point, you want more. And then if you want more, you might destroy it. So you take a chance.

I stopped painting, not because I didn't like painting; the sensuality of it was fun. But I wasn't able to get to the point I wanted to.

When you start a painting, it is somewhat outside you. At the conclusion, you seem to move inside the painting.

I'm not anti conceptual art. I don't think painting must be revived, exactly. Art reflects life, and our lives are full of algorithms, so a lot of people are going to want to make art that's like an algorithm. But my language is painting, and painting is the opposite of that. There's something primal about it. It's innate, the need to make marks. That's why, when you're a child, you scribble.

I tried painting for a short time and realized that I was not a child prodigy at painting.

Painting is like breathing to me. It’s what I do all the time. Every day I make art, whether it is painting, writing or making a movie.

If, on the other hand, conservationists are willing to insist on having the best food, produced in the best way, as close to their homes as possible, and if they are willing to learn to judge the quality of food and food production, then they are going to give economic support to an entirely different kind of land use in an entirely different landscape. This landscape will have a higher ratio of caretakers to acres, of care to use. It will be at once more domestic and more wild than the industrial landscape.

I don't think it's wise to manufacture a painting, just for the sake of working... if the impulse isn't truly there, the painting will lack power.

Photoshop came out of painting, and now it's going back to painting.

All painting, no matter what you are painting, is abstract in that it's got to be organized.

I never want to stop painting. I'm 94 now. What's my secret? I just keep thinking about the painting I'm going to do tomorrow.

Ever since I started painting, I have tried to get the fluidity and surprise of image connection, the simultaneity of film montage, into painting.

I've always been painting, even as a little girl I was painting on the doors and walls of our house.

I learned a lot of painting tricks painting outside.

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.

Having a background in doing printmaking and letterpress, I think that I became very interested in images that were flat and graphic. And my painting still today is very flat...American craft is like that too - the painting is very flat. And also the painting that you see on the storefronts, handmade signs, tend to be very flat. That's probably my biggest influence.

Each painting has its own way of evolving. When the painting is finished, the subject reveals itself.

When I was painting, I was painting stories I was telling myself. When I look back at it, moving to writing was a very natural progression for me.

In the back of every painting there's an entire universe that makes it possible for the painting to be there: an army of conservators, technicians, people who maintain these things, the market.

Painting is self-discovery. You arrive at the image through the act of painting.

The frame is the pimp of painting; it enhances it, but it must never shine at the painting's expense.

Pop Art is not painting because painting must have content and emotion.

Sometimes working on one painting will help solve a problem in another painting.

The process of painting offers an infinite array of possibilities. The closer in unification to just one of those, the better the painting becomes.

Every painting has a weakness and a breaking point, where the essence of a painting lies. In my case it is never in the centre.

Usually people start with painting and then go on to make installations; my painting came from installation.

It was wrong to allow Stalin to shape the European landscape of the 20th century. It would be even more wrong to let him shape the landscape of the 21st century.

I hope to actually get back to painting someday... soon. I sort of transitioned into cartooning from painting.

There is no light painting or dark painting, but simply relations of tones.

I'm not just painting for painting's sake. I want to be truthful.

I like to write about painting because I think visually. I see my writing as blocks of color before it forms itself. I think I also care about painting because I'm not musical. Painting to me is not a metaphor for writing, but something people do that can never be reduced to words.

Painting is the supreme form of expression; you don't need to 'read' painting.

It's sort of like my past is an unfinished painting, and as the artist of that painting, I must fill in all the ugly holes and make it beautiful again.

I reduced painting to its logical conclusion and exhibited three canvases: red, blue, and yellow. I affirmed: this is the end of painting.

Only my current situation has enabled me to accomplish the expensive task of demonstrating that the preferred sustenance of painting is painting.

I'm a tireless worker; I don't consider painting a work, it is not an obligation, I do it for pleasure; I haven't found anything that amuses me more than painting.

I've painted in the past, but I only average about one painting a year, and the last painting I did, I actually really liked.

Almost as though the painting itself becomes the embodiment of a type of struggle for visibility, and this might be considered the main subject of the painting.

It was wrong to allow Stalin to shape the European landscape of the 20th century. It would be even more wrong to let him shape the landscape of the 21st century

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

Everybody has called Pop Art 'American' painting, but it's actually industrial painting.

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

Were a man to spend only one day in Sicily and ask, "What must one see?" I would answer him without hesitation, "Taormina." It is only a landscape, but a landscape where you find everything on earth that seems made to seduce the eyes, the mind and the imagination.

Studio Ghosts: When you're in the studio painting, there are a lot of people in there with you - your teachers, friends, painters from history, critics... and one by one if you're really painting, they walk out. And if you're really painting YOU walk out.

My paintings are well-painted, not nimbly but patiently. My painting contains in it the message of pain. I think that at least a few people are interested in it. It's not revolutionary. Why keep wishing for it to be belligerent? I can't. Painting completed my life. I lost three children and a series of other things that would have fulfilled my horrible life. My painting took the place of all of this. I think work is the best.

Just because someone said painting is dead doesn't mean that it's a fact or the truth - painting is the soul food of art, in a way.

I don't like getting out when I could be painting. And when I'm painting, I don't want anybody else around.

At its edges, a painting makes its surrender to reality. The ways in which it can do so are endlessly revealing, as infinite as the potential forms of painting itself.

I dream a lot. I do more painting when I'm not painting. It's in the subconscious.

In fine arts, when you make a painting, it's just a painting. But if you make a painting in the entertainment industry, it can be an album cover or a t-shirt or a logo. I like that entertainment has this usefulness - that it's ultimately trying to make a bunch of people feel something, and to think about life and be able to use things that were so simple and direct but potentially have a really powerful effect.

I think a good painting or a good work of art does many things it wants, I mean, maybe 15 or 20 or 100. One of the things a painting does is to make the room look better. It improves the wall that it's on. Which is much harder than it looks. And that's a good thing. And if one engages with a painting on that level, that's fine, that's great. After some time, familiarity, the other things that a painting does, the other layers, they just start to make themselves felt.

All painting - the painting of the past as well as of the present - shows us that its essential plastic means were only line and color.

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.

No matter what medium I'm using, or what subject I'm painting, I do retain a fairly set approach to painting.

Painting is a kind of call and response. During the act of painting one is listening, paying attention to a self, a voice simultaneously recognizable and foreign.

Painting is profoundly emotional. When I finish a painting, I'm usually extremely sad.

Robert von Neumann taught painting, and when I finally got into a painting class of his, he reacted in much the same way.