Top 1200 Painting A Picture Quotes & Sayings - Page 17

The motion picture is like a picture of a lady in a half-piece bathing suit. If she wore a few more clothes, you might be intrigued. If she wore no clothes at all, you might be shocked. But the way it is, you are occupied with noticing that her knees are too bony and that her toenails are too large. The modern film tries too hard to be real. Its techniques of illusion are so perfect that it requires no contribution from the audience but a mouthful of popcorn.

Sunlight is painting.

Let's talk about the artist's desire to go beyond the pictorial or the representational and the desire to create the abstract - the idea that painting can go beyond what is seen. What we found is that, increasingly, painting became about paint, its own material truth. When I'm talking about the way that we look at others and the way that we see ourselves increasingly, looking at others becomes its own material truth.

I always remind people why The Oscars got started in 1928: It was an effort by the studios to suppress the unions. They started the Academy because all the screenwriters and directors and actors were unionizing, and they thought, "We'll have something that resembles a union, but that's completely controlled by the moneyed interests in Hollywood." That's what it's been all these years. It's something that reinforces Hollywood's image of itself. The Best Picture one year was Gandhi. Nobody watched Gandhi, but that's the kind of picture that always wins.

All religions are branches of one big tree. It doesn't matter what you call Him just as long as you call. Just as cinematic images appear to be real but are only combinations of light and shade, so is the universal variety a delusion. The planetary spheres, with their countless forms of life, are naught but figures in a cosmic motion picture. One's values are profoundly changed when he is finally convinced that creation is only a vast motion picture and that not in, but beyond, lies his own ultimate reality.

Think binary. When matter meets antimatter, both vanish, into pure energy. But both existed; I mean, there was a condition we'll call "existence." Think of one and minus one. Together they add up to zero, nothing, nada, niente, right? Picture them together, then picture them separating-peeling apart. ... Now you have something, you have two somethings, where once you had nothing.

My painting technique has not changed that much over time, although perhaps I am painting tighter and with more detail, in spite of a desire to loosen up and paint more expressively. One thing that has changed is my daily routine. I used to paint quite late into the night. It was a time I felt the creative spirits most active. As I have aged, my circadian rhythm has changed. I like to paint early in the day when I can avoid falling into the soul-sucking email world. Early dawn feels very similar to late night.

I have added some ploughmen to the landscape form the park pales which is a great help, but I must try and warm the picture a little more if I can... but I look to do a great deal better in future. I am determined to finish a small picture in the spot for every one I intend to make in future. But this I have always talked about but never yet done - I think however my mind is more settled and determined than ever on this point.

I found I have to stay painting.

I probably started painting when I was in preschool.

The painting has a life of its own

The capacity to see the big picture is perhaps the most important as an antidote to the variety of psychic woes brought forth by the remarkable prosperity and plentitude of our times. Many of us are crunched for time, deluged by information, and paralyzed by the weight of too many choices. The best prescription for these modern maladies may be to approach one's own life in a contextual, big picture fashion - to distinguish between what really matters and what merely annoys.

A painting is not made to be sniffed.

When one is painting one does not think.

Painting is a hobby for me.

Intuition is just the sum of all your experience. The way I see it, everything you’ve experienced, everything you know, you think you know and didn’t know you knew is there in your subconscious lying dormant, as it were. As a rule you don’t notice the sleeping creature, it’s just there, snoring and absorbing new things, right. But now and then it blinks, stretches and tells you, hey, I’ve seen this picture before. And tells you where in the picture things belong.

Writing is the painting of the voice.

Painting is very interesting.

What has reason to do with the art of painting?

Simon had drawn three pictures. In the top left corner, like a salutation, was a ghost. The middle had a big sketch of Arnold Schwarzenegger as the Terminator. The third in place of a signature, was a lightning bolt surrounded by fog. Beside the drawing, someone had scrawled in inch-high letters 10 A.M. Tori snatched it from me and turned it over. "So where's the message?" "Right there." I pointed from picture to picture. "It says: Chloe, I'll be back, Simon.

There is no means of testing which decision is better, because there is no basis for comparison. We live everything as it comes, without warning, like an actor going on cold. And what can life be worth if the first rehearsal for life is life itself? That is why life is always like a sketch. No, "sketch" is not quite a word, because a sketch is an outline of something, the groundwork for a picture, whereas the sketch that is our life is a sketch for nothing, an outline with no picture.

Eloquence is the painting of thought.

Our revolution is like Wikipedia, okay? Everyone is contributing content, [but] you don't know the names of the people contributing the content. This is exactly what happened. Revolution 2.0 in Egypt was exactly the same. Everyone is contributing small pieces, bits and pieces. We drew this whole picture of a revolution. And no one is the hero in that picture.

The whole movie thing has never been a source of great pride for me, in that Burt Reynolds, who starred in the picture, butchered the original script I had written for the late Steve McQueen, and the result, while a massive moneymaker, was lashed by the critics. But like the old joke about Pierre the Bridge Builder, The Cannonball Run is indelibly inscribed on my so-called career portfolio, and few conversations with strangers pass without the subject of the picture arising.

Contemporary Christian proclamation is faced with the question whether, when it demands faith from men and women, it expects them to acknowledge this mythical world picture from the past. If this is impossible, it has to face the question whether the New Testament proclamation has a truth that is independent of the mythical world picture, in which case it would be the task of theology to demythologize the Christian proclamation.

It makes us a thread in a tapestry that has unrolled for centuries before us, and will unroll for centuries after us. We're midway through the loom, that's the present, and what we do casts the thread in a particular direction, and the picture of the tapestry changes accordingly. When we begin to to try to make a picture pleasing to us and to those who come after, then perhaps you can say that we have seized history.

When we were small, Rose and I used to play a game called connect the dots. I loved it. I loved drawing a line from dot number 1 to dot number 2 and so on. Most of all, I loved the moment when the chaotic sprinkle of dots resolved itself into a picture. That's what stories do. They connect the random dots of life into a picture. But it's all an illusion. Just try to connect the dots of life. You'll end up with a lunatic scribble.

Martin Scorsese was one of the few who had not been an assistant. Most of the guys had been an assistant and worked their way up. But I had seen an underground picture he had made in New York, a black-and-white film. I had done a picture for American International, about a Southern woman bandit, the Ma Barker story, and it was very successful, and I had left to start my own company, and they wanted me to make another one.

We sat there, not talking, for a few minutes. He ate the Moon Pie; only skinny people can scarf down junk food like that. Finally, I said, "Norman?" "Yeah?" "Are you ever going to show me the painting?" "Man," he said. "You are, like, so impatient." "I am not," I said. "I've been waiting forever." "Okay, okay." He stood up and went over to the corner, picking up the painting and bringing it over to rest against the bright pink belly of one of the mannequins. Then, he handed me a bandana. "Tie that on.

I love painting and have a need to do it.

It is the simple truth that man does differ from the brutes in kind and not in degree; and the proof of it is here; that it sounds like a truism to say that the most primitive man drew a picture of a monkey and that it sounds like a joke to say that the most intelligent monkey drew a picture of a man. Something of division and disproportion has appeared; and it is unique. Art is the signature of man.

A great painting is a great painting.

All gardening is landscape painting.

Painting is no problem. The problem is what to do when you're not painting.

I love painting.

I want to assassinate painting.

All I'm doing is painting. It's my hobby. And that's that.

Painting is a coalescing of experience.

I want to die painting.

A poem is like a painting.

The painting is usually finished before you are.

I want painting to be difficult to do.

Photography is painting with light

So far as photography satisfied a wish, it satisfied a wish not confined to painters, but a human wish, intensifying since the Reformation, to escape subjectivity and metaphysical isolation - a wish for power to reach this world, having for so long tried, at last hopelessly, to manifest fidelity to another... Photography overcame subjectivity in a way undreamed of by painting, one which does not so much defeat the act of painting as escape it altogether: by automatism, by removing the human agent from the act of reproduction.

Discovery can give no right of ownership, for whatever is discovered must have been already here to be discovered. If a man makes a wheelbarrow, or a book, or a picture, he has a moral right to that particular wheelbarrow, or book, or picture, but no right to ask that others be prevented from making similar things. Such a prohibition, though given for the purpose of stimulating discovery and invention, really in the long run operates as a check upon them.

If you pay attention to those aspects of God that demonstrate love, truth, beauty, intelligence, order, and spiritual evolution, those aspects will begin to expand in your life. Bit by bit, like a mosaic, disparate fragments of grace will merge to form a complete picture. Eventually this picture will replace the ore threatening one you have carried around inside you since infancy.

What has reasoning to do with painting?

I'll stick to painting as long as I can.

I have sworn to die painting.

The main condition for the achievement of love is the overcoming of one's narcissism. The narcissistic orientation is one in which one experiences as real only that which exists within oneself, while the phenomena in the outside world have no reality in themselves, but are experienced only from the viewpoint of their being useful or dangerous to one. The opposite pole to narcissism is objectivity; it is the faculty to see other people and things as they are, objectively, and to be able to separate this objective picture from a picture which is formed by one's desires and fears.

Painting is a jeu d'esprit.

The substance of painting is light.

There's a beauty shop companion called School of Beauty, School of Culture at the Birmingham Museum of Art. I got an email that said a couple had a guerrilla wedding in front of that picture. They slipped into the museum with a preacher and had their wedding ceremony in front of it. It turns out that the woman is a beautician and the man is a barber, they had seen that picture, and they said it was the perfect place to get married.

I hate painting.

Geometry is the foundation of all painting.

And I told you: I think of a photograph you took of me, up in Montreal. You told me to jump in the air, so in the picture, my feet are off the ground. Later, I asked you why you wanted me to do that, and you told me it was the only way to get me to forget about the expression on my face. You were right. I am completely unposed, completely genuine. In my mind’s eye, I picture myself like that, reacting to you.

You can never capture a person in picture, never. You might get an interesting expression or gesture. I almost never research a picture subject ahead of time. I think Karsh is full of baloney. Can you imagine spending a whole week out in La Jolla with Jonas Salk soaking up his ambiance, then wind up making him look as if he's in the studio in Ottawa with his thumb under his chin?

I wish to die painting.

Photography is inherently an analytic discipline. Where a painter starts with a blank canvas and builds a picture, a photographer starts with the messiness of the world and selects a picture. A photographer standing before houses and streets and people and trees and artifacts of a culture imposes an order on the scene - simplifies the jumble by giving it structure. He or she imposes this order by choosing a vantage point, choosing a frame, choosing a moment of exposure, and by selecting a plane of focus.

Painting is a strange business.