Top 1200 Painting A Picture Quotes & Sayings - Page 13

The world clings to its old mental picture of the stock market because it’s comforting; because it’s so hard to draw a picture of what has replaced it; and because the few people able to draw it for you have no interest in doing so.

There was a belief after World War I that painting could be an act of civil revolt. I want this exhibition, 'New Museum,' to be an act of civil disobedience. It's not so much about the New Museum on the Bowery, but the idea of challenging museums as projections of cultural authority. It's painting as insurgency.

A story is told that Whistler once painted a tiny picture of a spray of roses. The artistry involved in the picture was magnificent. Never before, it seemed, had the art of man been able to execute quite so deftly a reproduction of the art of nature.

Almost inevitably there are tensions in the picture, tensions between the outside world and the inside world. For me, a successful picture resolves these tensions without eliminating them.

Most of my painting is done sitting in a chair with a book. I'd say it's 80 per cent sitting and reading, 10 per cent eating and ten per cent painting.

For me the most important thing to do in a selfie is to have an opinion and to say something with the picture. Don't just take a picture of yourself like, 'Here I am.' It's what are you thinking? Are you happy? Are you angry? Do you like it? Do you not like it? Think an emotion and apply it to your eyes.

In the mirror of your mind all kinds of pictures appear and disappear. Knowing that they are entirely your own creations, watch them silently come and go. Be alert, but not perturbed. This attitude of silent observation is the very foundation of yoga. You see the picture, but you are not the picture.

People get numbed when they see picture after picture, year in and year out, of people starving.

Self-painting is a further development of painting. The pictorial surface has lost its function as sole expressive support. It was led back to its origins, the wall, the object, the living being, the human body. By incorporating my body as expressive support, occurrences arise as a result, the course of which the camera records and the viewer can experience

In every painting, as in any other work of art, there is always an IDEA, never a STORY. The idea is the point of departure, the first cause of the plastic construction, and it is always present all the time as energy creating matter. The stories and other literary associations exist only in the mind of the spectator, the painting acting as the stimulus.

The American motion picture is the greatest unconscious carrier of propaganda in the world today. It is a great distributor for ideas and opinions. The motion picture can standardize the ideas and habits of a nation. Because pictures are made to meet market demands, they reflect, emphasize and even exaggerate broad popular tendencies, rather than stimulate new ideas and opinions. The motion picture avails itself only of ideas and facts which are in vogue. As the newspaper seeks to purvey news, it seeks to purvey entertainment.

The systems of stereotypes may be the core of our personal tradition, the defenses of our position in society. They are an ordered more or less consistent picture of the world, to which our habits, our tastes, our capacities, our comforts and our hopes have adjusted themselves. They may not be a complete picture of the world, but they are a picture of a possible world to which we are adapted. In that world, people and things have their well-known places, and do certain expected things. We feel at home there. We fit in. We are members.

I think my pictures are really about a kind of tension between my need to make a perfect picture and the impossibility of doing so. Something always fails, there's always a problem, and photography fails in a certain sense... This is what drives you to the next picture.

You begin by engaging the left hemisphere of the brain with the overall shape, the basic structure of the painting, and then eventually you engage with the colour, with the mood of the painting and then you are entering the activities of the right hemisphere - and it is in the right hemisphere that ideas of space are born, the realization that you are seeing space.

What I can't tell with a photo I will tell with a painting, and what I can't tell with a painting I will tell with a video or text sometimes, et cetera.

I think I'm just generally more interested in figuration than abstraction. I think that painting abstraction often feels like painting colors to me, whereas portraits always feel like something connected. I like the exchange, the collaborative aspect of sitter and subject for sure.

Glamour is all about transcending this world and getting to an idealized, perfect place. And this is one reason that modes of transportation tend to be extremely glamorous. The less experience we have with them, the more glamorous they are. So you can do a glamorized picture of a car, but you can't do a glamorized picture of traffic.

...if photos can reproduce the world more perfectly than any painter, can capture an instant, a look, a gesture, then what makes a painting good anymore? Painting subverts this subversion of its traditional nature by redefining itself - art is idea, not simply skillful execution. So, a work can be crudely made, or even machine made - but it has to be practically and functionally useless.

For me, Corsica is a place that I visited with my friends, maybe five or six times over the years, and I'm so happy there that I wanted to make a painting about it almost just to share with my friends, but it's so difficult when all your feelings are one way, and they're very sort of happy and pleasant. It's impossible to make a painting about it.

I was too tired to think. I merely felt the town as a unique unreality. What was it? I knew -- the moon's picture of a town. These streets with their houses did not exist, they were but a ludicrous projection of the moon's sumptuous personality. This was a city of Pretend, created by the hypnotism of moonnight. -- Yet when I examined the moon she too seemed but a painting of a moon and the sky in which she lived a fragile echo of color. If I blew hard the whole shy mechanism would collapse gently with a neat soundless crash. I must not, or lose all.

I have always been a fan of Salvador Dali, but Amrita Sher-Gil, who was an Indian-Hungarian painter, is another favourite. She was painting Indian women, and, growing up here, I'd never seen anyone paint Indian women, so that was really incredible to see a painting of someone who looks like you. I think that has a lot of impact on you.

I didn't know anything about film when I first started - I was a painter - but I [always] felt that sound was just as important as the picture. The sound, picture, and ideas have to marry. If an idea carries with it a mood, sound is critical to making that mood.

I know I didn't like that dress 'cause it didn't fit but I thought it was a great picture. We weren't the first band to do a picture in drag; The Rolling Stones were. If it was good enough for them then it had to be good enough for us.

My studio practice is a - I suppose a bit more like [Thomas] Gainsborough or [Peter Paul] Rubens in the sense that any artist who wants to create a grand narrative on a grand scale has to sort of parse out some of the smaller aspects of painting or the more mundane aspects of painting to others.

The images are designed, so that after you see the picture two or three times, its no longer my film, it starts to be your film, You recognize the people, you know them, and you don’t even know who directed the picture. PlayTime is nobody.

I never noticed competing with other generations. There's competition within your own generation, but that competition is good. Maybe you're annoyed that somebody's getting more money than you are, but what's really annoying is if someone's painting a better painting than you're making. So it's something to think about and work toward and stay focused on.

Sitting for a picture is morbid business. A portrait doesn't begin to mean anything until the subject is dead. This is the whole point. We're doing this to create a kind of sentimental past for people in decades to come. It's their past, their history we're inventing here. And it's not how I look now that matters. It's how I'll look in twenty-five years as clothing and faces change, as photographs change. The deeper I pass into death, the more powerful my picture becomes. Isn't this why picture-taking is so ceremonial? It's like a wake. And I'm the actor made up for the laying-out.

It doesn't matter that your painting is small. Kopecks are also small, but when a lot are put together they make a ruble. Each painting displayed in a gallery and each good book that makes it into a library, no matter how small they may be, serve a great cause: accretion of the national wealth.

Painting is my profession, because it has always been the thing that interested me most. I'm of a certain age, I come from a different tradition and, in any case, I can't do anything else. I'm still very sure that painting is one of the most basic human capacities, like dancing and singing, that make sense, that stay with us, as something human.

If, while I'm painting, I distort or destroy a motif, it is not a planned or conscious act, but rather it has a different justification: I see the motif, the way I painted it, is somehow ugly or unbearable. Then I try to follow my feelings and make it attractive. And that means a process of painting, changing or destroying - for however long it takes - until I think it has improved. And I don't demand an explanation from myself as to why this is so.

I don't understand why a Mark Rothko painting - as much as I love Mark Rothko - has to cost $73 million. I mean, I think $14 million is a pretty reasonable sum of money for a good Rothko painting. What's disturbing about this present moment is that these prices have been so out of control.

The question I ask myself when adapting a book is how do I be true to the spirit and soul of the character? How would I describe this character in my medium? If you asked one person to do a painting of something and another to create a sculpture of it, you'll never ask, 'Why doesn't the painting look like the sculpture?'

I think of writing--particularly of writing picture books--as a kind of choreography. A picture book must have pace and movement and pattern. Pictures and text should, together, create the pattern, rather than simply run parallel.

The viewer who sees only a study in the picture of the glass jug illuminated from behind fails to appreciate the masterly composition, the noble purity of the lines, the rich plasticity of the form and consequently also the poetry and beauty of the picture, and still more important, its specifically photographic qualities.

Someone on Twitter sent me a page from a textbook. It had a picture of a football player next to a picture of me. The juxtaposition was meant to illustrate two meanings of "offensive." Seriously. It broke my heart. It's that accepted what I do is offensive?

I dislike a picture that is too suave or too skilfully done. But, contrariwise, I also dislike a picture that looks too inept or blundering.

Art has become more than painting, sculpture or music: art is more than Van Gogh painting a landscape or Wagner composing an opera. The whole of reality itself has become the object of art.

Life is a million different dots making one gigantic picture. And maybe the big picture is nice, maybe it's amazing, but if you're standing with your face pressed up against a bunch of black dots, it's really hard to tell.

Understand where it is you want to go. Then picture yourself there. If you can picture yourself there, then you can be there. Bottom line.

You mean guys don't get injured in spring training? Guys get hurt walking down the street. All the managers, pitching coaches are very sensitive. Look, you can always pick at something, but there's a broader picture, a grander picture.

Painting is something that takes place among the colors, and one has to leave them alone completely, so that they can settle the matter among themselves. Their intercourse: this is the whole of painting. Whoever meddles, arranges, injects his human deliberation, his wit, his advocacy, his intellectual agility in any way, is already disturbing and clouding their activity.

I visited the Museum of Modern Art last spring and spent time with David Alfaro Siqueiros's painting, 'Echo of a Scream (1937).' I got spun out by the way he creates tension and movement through the interlocking details in the painting. This poem began as an emulation of Siqueiros's compositional style and, in the process, became an ekphrastic aubade about my old neighborhood.

I can picture in my mind a world without war, a world without hate. And I can picture us attacking that world because they'd never expect it.

If women have become innocent victims, if women running around today are unable to protect themselves, if the picture that we're painting, if the caricature we are creating is of women that are helpless waifs who are at risk of predator men throughout the busy day, then we have to somehow involve Hillary Clinton in that recipe in truthful and honest ways. That, when it came to defending and protecting women who alleged that they had been abused or even raped by her husband, those women were nothing but scum who had to be dispatched and just swept out of the way.

I think that the exchange is very important. Before I did the exhibition in Shanghai, I was a judge for the John Moores Painting Prize and that was very interesting for me, because some of the judges are Chinese and some are British, and we look at the work together. It was fascinating that most of the time we were in complete agreement, but some of the time we were not. People send their works from all over China. For a foreigner, this gave me a very good picture about what is happening in China and its art today.

Everybody is constantly putting themselves under a microscope in terms of their productivity and their financial success and this whole idea of 'Picture Me Better,' like picture me, you know, who I'm supposed to be versus, you know, just accepting who we all are.

My favorite thing is when we lift a trophy. Afterward, we can have a picture of us lifting a trophy. And that picture shows a lot of work, a lot of difficulty and a lot of sacrifice together.

I spent two years telling studio heads that it wasn't a cancer picture. I hate cancer pictures. I don't want to see a cancer picture. There is only one thing worth saying about cancer, and that is that there are human beings in cancer wards.

Like commercial stuff is sort of cheap and disposable and fun and can be sort of interesting in many ways. I love being in popular culture and existing in the evolution of popular culture. But it's so different from painting, and it's so different from that sort of slow, contemplative, gradual process that painting is.

While it may seem a little mundane, the material realities of realizing the painting actually have a lot to do with how you should read the painting. For example, we assume that what the model is wearing is what we found him in in the streets. No; in fact, a lot of what happens is that in Photoshop certain aspects are being heightened or diminished. There is no actual material truth in these paintings.

What's different with Cambridge Analytica and more broadly with social media is that you are the target. People want to harvest your information in as granular a way as possible in order to, like, create a picture, a complete picture of who you are, ultimately to either sell you things or make you believe things.

When you make motion pictures, each picture is a life unto itself. When you finish and the picture is over, there's an understanding, a realization that we'll never be assembled this way again. That these relationships are severed forever and ever. And each of these films is a little life.

Some hate broccoli, some hate bacon I hate having my picture taken. How can your family claim to love you And then demand a picture of you?

Most people don't really like to pose. It is difficult to get them to be present and relaxed under this kind of molecular scrutiny. I want them to understand I'm not simply painting them: I am painting them within a precise moment in time, as a shadow moves across their eyebrows. Then it is gone. The moment is over.

Never shop alone for your bridal dress. Take a friend and bring a camera to take a picture of you. Make sure to get a picture of the back view: that's the part of the dress most people are going to see for the longest time.

The painting was framed in a misty view of sky, sea, and valley. Newt's painting was small, black, and warty. It consisted of scratches made in a black, gummy impasto. The scratches formed a sort of spider's web, and I wondered if they might not be the sticky nets of human futility hung up on a moonless night to dry.

I come from a painting background, and although my painting is completely different from my performances, there is something about the fundamentals of that training that transfers over to this idea of an exercise and being diligent about mapping something out in advance - even if it is just being aesthetically diligent.

It is a great honor for me to be compared to Henri Cartier-BressonBut I believe there is a very big difference in the way we put ourselves inside the stories we photograph. He always strove for the decisive moment as being the most important. I always work for a group of pictures, to tell a story. If you ask which picture in a story I like most, it is impossible for me to tell you this. I don't work for an individual picture. If I must select one individual picture for a client, it is very difficult for me.

'The Lion' all began with a picture of a faun carrying an umbrella and parcels in a snowy wood. This picture had been in my mind since I was about sixteen. Then one day, when I was about forty, I said to myself, 'Let's try to make a story about it.'

I write books, I write for comic books, I give lectures... I live. And when the opportunity comes to do a picture, I do a picture.