Top 1200 Landscape Painting Quotes & Sayings - Page 5

I would never put a sculpture in front of a painting, so that it is difficult to see the painting. I always place each thing so you can see it isolated. You can focus on every individual work.

It's good when someone comes to a book or a movie and interacts with it. It's the difference between an illustration and a painting. An illustration serves a specific purpose, and a painting is something you can immerse yourself in.

When realistic images or patterns are seen in an abstract painting, they are often parallels brought about by processes in painting which echo processes in nature.

I have told myself a hundred times that painting - that is, the material thing called a painting - is no more than a pretext, the bridge between the mind of the painter and the mind of the spectator.

Well, let's say we acknowledged the School of French Painting - the Paris School of painting as the leading force and vitality of the time. I think that was understood and felt and experienced.

Painting and art cannot be taught. You can save time if someone tells you to put blue and yellow together to make green, but the essence of painting is a self-disciplined activity that you have to learn by yourself.

In its primary aspect, a painting has no more spiritual message than an exquisite fragment of Venetian glass. The channels by which all noble and imaginative work in painting should touch the soul are not those of the truths of lives.

Painting from life is a completely different monster, which I like. But because I've been painting from photography for so long, I've learned my best moves from photography.

I'm not particularly interested in painting, per se. I'm interested in a painting that has that mysterious life to it. Anything that doesn't partake of that magic is halfway dead - it returns to its physical elements, it's just paint and canvas.

People are always trying to find the next groovy thing, and it hasn't gone back to painting... I'd like it to go back to painting. I'm sick of all this photography and video. There's so much of it, it's almost annoying.

Here, reality is not subordinated to painting, indeed painting seems the handmaid of reality, though we feel it tending towards a procedure which, while not at the mercy of appearances, is not yet in conflict with them.

A painting that doesn't shock isn't worth painting.

The English landscape at its finest - such as I saw this morning - possesses a quality that the landscapes of other nations, however more superficially dramatic, inevitably fail to possess. It is, I believe, a quality that will mark out the English landscape to any objective observer as the most deeply satisfying in the world, and this quality is probably best summed up by the term 'greatness.'

When I can focus on something like guitar or painting, I do. I started painting people I admire, like Kerouac, Bob Dylan, Nelson Algren, Marlon Brando, Patti Smith, my girl, my kids.

I feel like it's almost a Renaissance thing, a painting, a modern version of a painting. I think it's important for Kim [Kardashian] to have her figure. To not show it would be like Adele not singing.

The thing is that the money issue looms so large in art now. And it has absolutely nothing to do with art. If you're painting goes for ten grand or a hundred grand, it doesn't make painting any easier. And it doesn't make the painting any better if it goes for a hundred grand.

There's no social realism in 'Tyrannosaur.' It's not about the social landscape or the political landscape or any of that. It's just about human beings. I never made 'Tyrannosaur' in reference to anybody - I just made it because I had to make my own films.

I do have a dream, a painting, the baths of La Grenouillere for which I've done a few bad rough sketches, but it is a dream. Renoir, who has just spent two months here, also wants to do this painting.

At some point I realized that the text was the painting and that everything else was extraneous. The painting became the act of writing a text on a canvas, but in all my work, text turns into abstraction.

Painting is a medium in which the mind can actualize itself; it is a medium of thought. Thus painting, like music, tends to become its own content.

I trained as a painter, and I still love painting, but eventually I became aware that the physical aspect of painting didn't really suit me. I didn't enjoy working in the medium. It's very messy. I prefer to have it clean, with a nice computer.

On occasion I have drawn as a release from painting. The economy in using paper, pencil, charcoal and crayon can help towards a greater gamble and higher rewards. I also find that drawing can generate ideas more rapidly than painting.

I am painting with the same enthusiasm as a Marseillaise eats bouillabaisse ... I am painting big sunflowers.

Every painting I do is related to the last one: it may be a continuation of a previous painting or it may be a reaction against it.

In my work, I want to create an understanding, not about what a painting looks like but about what a painting says.

I don't know what a painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere.

Our experience of any painting is always the latest line in a long conversation we've been having with painting. There's no way of looking at art as though you hadn't seen art before.

I remember one day when Juan Gris told me about a bunch of grapes he had seen in a painting by Picasso. The next day these grapes appeared in a painting by Gris, this time in a bowl; and the day after, the bowl appeared in a painting by Picasso.

I was always interested in drawing and painting. I enrolled in college to study painting. But I didn't have any livelihood when I graduated. My mother died very young, and I didn't have any home, so I had to find a way to earn a living. It seemed to me that photography - to the great disappointment, I have to say, of my painting teacher - could offer that. So I went and did a degree in photography, and then after that I could go out and get paid for work. For portraits, things like that.

So long as painting deals with objective nature, it is an impure art, for recognizability precludes the highest aesthetic emotion. All painting, ancient or modern, moves us aesthetically only in so far as it possesses a force over and beyond its aspect.

It is an intimately communicative affair between the painter and his painting, a conversation back and forth, the painting telling the painter even as it receives its shape and form.

Painting is so close, so personal, so immediate, and so ordinary... It is the ordinary resurrections that define your painting.

All aspects of photography interest me and I feel for the female body the same curiosity and the same love as for a landscape, a face or anything else which interests me. In any case, the nude is a form of landscape. There are no reasons for my photographs, nor any rules; all depends on the mood of the moment, on the mood of the model.

When I'm painting, I'm not aware of what I'm doing. It's only after a get acquainted period that I see what I've been about. I've no fears about making changes for the painting has a life of its own.

Technology's always changing. There was a time where oil painting was a new technology. That changed painting.

The best painting comes out of compulsions and obsessions, out of deep love or hate, out of intellectual or emotional involvement with something that lies outside the painting itself.

I fell in love with painting. Painting allows me to see things as I want to and not necessarily as they are, it's an escape, a way to preserve thoughts and memories, a way to create hopes and dreams. - Marina

A painting is finished when the subject comes back, when what has caused the painting to be made comes back as an object.

Painting, to me, is a unique experience. Each work is a surprise and has its own personal and intuitive meaning. After brainstorming feelings and memories, each painting evolves freely and independently.

The older I get, the more I feel that color is what painting is. Painting is primarily color.

The essential of painting is that 'something', that 'ethereal glue,' that 'intermediary product' which the artist exudes with all his creative being and which he has the power to place, to encrust, to impregnate into the pictorial matter of the painting.

There has never been a painting that was more beautiful than nature. The model does not unfold herself to you, you must rise to her. She should be the inspiration for your painting. No man has ever over-appreciated a human being.

The idea of an isolated American painting , so popular in this country during the thirties, seems absurd to me, just as the idea of a purely American mathematics or physics would seem absurd... And in another sense, the problem doesn't exist at all; or, if it did, would solve itself: An American is an American and his painting would naturally be qualified by the fact, whether he wills or not. But the basic problems of contemporary painting are independent of any one country.

While the focus in the landscape of Old World cities was commonly government structures, churches, or the residences of rulers, the landscape and the skyline of American cities have boasted their hotels, department stores, office buildings, apartments, and skyscrapers. In this grandeur, Americans have expressed their Booster Pride, their hopes for visitors and new settlers, and customers, for thriving commerce and industry.

The Place of Religion in Chicago is a clearly written account of a little-studied aspect of American landscape. Based on unique field surveys and supported by photographs, tables, and beautifully crafted maps, the book will form a lasting contribution to our understanding of an overlooked element of the American urban scene: the religious landscape of a major metropolis.

The transition from painter to artist comes when you cross the line of painting what you see to painting what you feel about what you see.

On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.

I don't think it's necessary for artists to have any formal training in painting or art history, but I do think it's essential to continually experiment with different subject matter, types of paint and methods of painting.

If a certain activity, such as painting, becomes the habitual mode of expression, it may follow that taking up the painting materials and beginning work with them will act suggestively and so presently evoke a flight into the higher state.

What constitutes American painting?... things may be in America, but it's what is in the artist that counts. What do we call 'American' outside of painting? Inventiveness, restlessness, speed, change.

I want a painting to be difficult to do. The more obstacles, obstructions, problems - if they don't overwhelm - the better. I would like to feel that I am involved at any stage of the painting with all its moments, not just this 'now' moment where a superficial grace is so available.

People want Art. And they are given it. But the less Art there is in painting the more painting there is.

I think that painting relates very neatly to inner travel and the exploration of inner worlds. With painting, I always get the impression that you're sort of entering into a shared space.

I've become really interested in the landscape but not as landscape but more as it relates to mood and how we live and how the outside impacts on the inside. I didn't really look at the outside world during the years I was photographing the Ballad as I was locked inside my house and I lived totally inside.

There aren't really rules for painting, but there’s certain facts and fictions about painting. Part of what I do is document another surface and sort of translate it. They’re like translations, and then part of it is fiction, which is invention.

Most painting in the European tradition was painting the mask. Modern art rejected all that. Our subject matter was the person behind the mask.

Each movie you do about a real person is like a painting, and you choose certain things in the painting that you want to pull out and you want to show.

After tea it's back to painting - a large poplar at dusk with a gathering storm. From time to time instead of this evening painting session I go bowling in one of the neighbouring villages, but not very often.

Painters should shut up and paint and when we stop painting we should dance or have sex or get a massage or take a shower and we shouldn't be talking about painting.

The merit of painting lies in the exactness of reproduction. Painting is a science and all sciences are based on mathematics. No human inquiry can be a science unless it pursues its path through mathematical exposition and demonstration.