Top 1200 Painting A Picture Quotes & Sayings - Page 12

Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?

I was leafing through a magazine where there was a before-and-after picture of a woman who went from a size 5 to a size 3 by liposuction. Was she serious? I've cooked bigger turkeys than her "before" picture.

A picture is worth 10K words - but only those to describe the picture. Hardly any sets of 10K words can be adequately described with pictures.

As for the various kinds of montage photography, they are in reality not photography at all but a kind of painting in which photography is used - as pastiches of textiles are used in crazy-quilts - to form a mosaic. Whatever value the montage may have derives from painting rather than the camera.

When we inject people with positivity, their outlook expands. They see the big picture. When we inject them with neutrality or negativity, their peripheral vision shrinks. There is no big picture, no dots to connect.

Picture the moment when your mom and dad first saw you as something other than a pretty, tiny version of them. You as them, but improved. Better educated. Innocent. Then picture when you stopped being their dream.

Composition is the art of arranging in a decorative manner the various elements which the painter uses to express his sentiments. In a picture every separate part will be visible and... everything which has no utility in the picture is for that reason harmful.

People will say, 'Just one picture please.' That is how it starts. There is just one picture and then somebody else wants another. And when I say 'No' I feel guilty.

Hold a picture of yourself long and steadily enough in your mind's eye and you will be drawn toward it. Picture yourself vividly as winning and that alone will contribute immeasurably to success.

My sister-in-law is a painter, and I'll say, how long did it take you to paint that painting. She'll say, It took me maybe three days, but it took me all my life to get the skills to paint that painting.

My dog barks some. Mentally you picture my dog, but I have not told you the type of dog which I have. Perhaps you even picture Toto, from The Wizard of Oz. But I can tell you, my dog is always with me. WOOF!

I guess if we do enough shows and keep doing it long enough, then people will get the picture. But I can't really be bothered if they don't get the picture. That's not my concern.

Once music ceases to be ephemeral - always disappearing - and becomes instead material... it leaves the condition of traditional music and enters the condition of painting. It becomes a painting, existing as material in space, not immaterial in time.

At the point where I'm trying to force something and it's not happening, and I'm getting frustrated with, say, writing a poem, I can go and pick up the brushes and start painting. At the point where the painting seems to not be going anywhere, I go and pick up the guitar.

Behind that picture of me, thousands and thousands of people, they suffered - more than me. They died. They lost parts of their bodies. Their whole lives were destroyed, and nobody took that picture.

That the Hindus, absorbed in the ideal, lacked in realistic observation is evident from this. Take painting and sculpture. What do you see in the Hindu paintings? All sorts of grotesque and unnatural figures. What do you see in a Hindu temple? A Chaturbhanga Narayana or some such thing. But take into consideration any Italian picture or Grecian statue-what a study of nature you find in them! A gentleman for twenty years sat burning a candle in his hand, in order to paint a lady carrying a candle in her hand.

Once music ceases to be ephemeral - always disappearing - and becomes instead material... it leaves the condition of traditional music and enters the condition of painting. It becomes a painting, existing as material in space, not immaterial in time.

Music is an amazing thing. I don't know if we really think about it the same way we consider a painting an amazing thing. I mean, a painting is, in quotes, imaginary. There is nothing on the canvas when you start; and writing a song, there is nothing there when you start.

When you come up in the art world, whatevers in the air, the issues of the moment, end up becoming part of the working method or modus operandi of how you think about doing a painting. And I came up at a time when-actually painting was dead when I came up. Sculpture sort of ruled.

It's not worth getting too excited about thinking about the larger picture. The larger picture doesn't come into focus for an awfully long time.

My nominee for Best Picture of the year - maybe the best picture ever, because it's essentially made up of and is an ecstatic love letter to all other movies - is Christian Marclay's endlessly enticing must-see masterpiece 'The Clock.'

I respect journalism. I was always very aware of journalism from a very broad point of view, but I'd say my baptism by fire was doing the Donald Margulies play Time Stands Still. That for me was a real education because I spent a lot of time with some incredible journalists, war reporters particularly - Bob Woodruff, Dexter Filkins - people who were very helpful in painting the picture for me and reading the accounts of people and what they experienced, a lot of PTSD.

People often mistake technology for a static picture. It's less like a picture and more like a movie. It's the velocity of technology innovation that matters. It's the acceleration.

And they talk about their bona fide doctors. They have a list of doctors that signed affidavits from looking at a picture of Terry. That's where they get their information from, by looking at a picture.

It is, because you've got a nice picture, you want to put it up, and then you're like, 'Do I want this to go out in the press? Do I want them to run it and make a story surrounding that picture?' That's what I have to think of all the time.

Even if you're walking through the airport or going to pick up your mail, if you meet a fan and they have a camera, they will take a picture of you and millions could potentially see that picture - if it's picked up by a blog or whatever.

Picture books have terrible PR amongst the children of this country. Ask any librarian: after a certain age, children just aren't interested in the picture book section anymore. It's filled with moms, strollers, and unbalanced toddlers.

The most difficult thing about painting is the self-discipline. When I finish a job, I give myself a few days, but then I have to discipline myself quite fiercely if I want to do some painting that's worthwhile. Otherwise, you're just doodling. It's much easier when you're just told what you have to do.

I sometimes wish I had never had to sell a painting. Every painting you make represents the time it was made and how you were feeling and what your influences were... You are never going to feel that way again, so you can never repeat it.

The two Testaments are interesting, each in its own way. The Old one gives us a picture of these people's Deity as he was before he got religion, the other one gives us a picture of him as he appeared afterward.

Remember always, in painting as in eloquence, the greater your strength, the quieter will be your manner, and the fewer your words; and in painting, as in all the arts and acts of life the secret of high success will be found, not in a fretful and various excellence, but in a quiet singleness of justly chosen aim.

It is a good idea to know which publishers publish which stories. For example, there is no sense in sending a picture book text to a publisher who does not publish picture books.

It's Frank's painting on the cover. We were originally going to use a Salvador Dali painting that we got permission from Salvador Dali to use, and Frank found this one, and it really did fit the music much more.

I have to write what I can write, and writing the text of a picture book is like walking a tightrope, if you ramble off... As my friend Julius Lester says, A picture book is the essence of an experience.

I know that on my own sites, a picture of me with my mom or me with my dog does well, but when I put up a picture of myself shirtless, it does get a little crazy.

In drawing after drawing, pastel after pastel, painting after painting, the contours of Degas's dancing figures become, at a certain point, darkly insistent, tangled and dusky. It may be around an elbow, a heel, an armpit, a calf muscle, the nape of a neck.

I do think that dread is about a certain kind of expectation. And the fact that a picture can never resolve itself the way a movie can - maybe that's a specific kind of dread that becomes associated with a picture.

Writing plays supplied for me everything that painting didn't, which is the ability to tell stories in real time, in a real space, in three dimensions, in flesh and blood. I realized I had been trying to cram all this narrative into my paintings, but ultimately painting was a static medium. So it just opened up this whole new door.

Each time you take a good picture, you have the wonderful feeling of exhilaration... and almost instantly, the flip side. You have this terrible, terrible anxiety that you've just taken your last good picture.

What have I done? I've blundered my way through life. So I have my picture on the wall. The minute I die, that picture will start to yellow and fade and eventually be gone. Blown in the wind and become part of the molecular structure of something else. These things we see as "success," they're non-accomplishments.

You are confronted with abysses of time that are, in a way, unfathomable. You see a painting in charcoal of raindeer and it was left unfinished and somebody else finished it. But through radio carbon dating we know that the next one completed the painting 5,000 years later. You're just blown away by the notion of passage of time. We have no relationship to that kind of depth of time.

I love digital, but the only problem is less intimacy. People look at the screen right away. Before, nobody saw the picture before you saw the final picture. There was more privacy in a way.

In my own research when I'm working with equations, I never feel like I really understand what I'm doing if I'm solely relying on the mathematics for my understanding. I need to have a visual picture in my mind. I'm constantly translating from the math to some intuitive mind's-eye picture.

May we not have a picture of Christ, who has a true body? By no means; because, though he has a true body and a reasonable soul, John 1:14, yet his human nature subsists in his divine person, which no picture can represent, Psalm 45:2. Why ought all pictures of Christ to be abominated by Christians? Because they are downright lies, representing no more than the picture of a mere man: whereas, the true Christ is God-man

Look, if the picture you get instantly is as beautiful as the picture you get by waiting seven days, then it is absolute madness to say that there is virtue in waiting.

A real artist may create his picture in a lonely desert... gods look over his shoulder; he creates in their company. What does he care whether or not anybody admires his picture?

Maybe poets express more directly a sense of sympathy for other human beings. Painting is a little bit more of a retreat from human beings in real life; painting is more about the extreme moments when speech doesn't help anymore.

I realized painting could look like a film, and a film like a painting.

You can look at a picture for a week and never think of it again. You can also look at the picture for a second and think of it all your life.

And the most successful leader of all is one who sees another picture not yet actualized. He sees the things which belong in his present picture but which are not yet there.

When we take a picture, we have a negative. We put the right solution on it and, suddenly, the picture comes to life. So what do we do? We take the negative and turn it into a positive.

Stained glass is unique from the outside, but as a painting insider, I know that oil painting's all about light. And it's about the depiction of light, the way that it bounces off different types of skin, different landscapes. The mastery of that light is the obsession of most of my painter friends.

The artist is always concerned with a total view of the world. However, when the photographer takes a picture ... the edge of his picture is just as interesting as the middle, one can only guess at the existence of a whole, and the view presented seems chosen by chance.

I have to write what I can write, and writing the text of a picture book is like walking a tightrope, if you ramble off... As my friend Julius Lester says, 'A picture book is the essence of an experience.'

I carry both a Blackberry and an iPhone. But for my job, the iPhone is essential because of picture-taking and because of picture sharing.

I want to make music three-dimensional. I want to make a song also a painting, and a painting also a culinary experience.

Vision - It reaches beyond the thing that is, into the conception of what can be. Imagination gives you the picture. Vision gives you the impulse to make the picture your own.

It's crazy, because you see these famous actors or actresses and I'm like, 'Oh, I want a picture with you!' and they're like 'No, I want a picture with you!'

I could picture life—school and everything else—continuing on without me. But I could not picture my funeral. Not at all. Mostly because I couldn’t imagine who would attend or what they would say.

Balance of light is the problem, not the amount. Balance between shadows and highlights determines where the emphasis goes in the picture...make sure the major light in a picture falls at right angles to the camera.