Top 1200 Painting A Picture Quotes & Sayings - Page 5

The sense that the meaning of the universe had evaporated was what seemed to escape those who welcomed Darwin as a benefactor of mankind. Nietzsche considered that evolution presented a correct picture of the world, but that it was a disastrous picture. His philosophy was an attempt to produce a new world-picture which took Darwinism into account but was not nullified by it.

When I get my hands on painting materials I don't give a damn about other people's painting... every generation must start again afresh.

Sometimes you need to live with a painting for a while. Starting a painting can be easy, but finishing it... that's the skill of the painter, how you finally know when it's done.

Easel painting means small painting.

However, I must stress that my own interest is immediate and in the picture. What I am conscious of and what I feel is the picture I am making, the relation of that picture to others I have made and, more generally, its relation to others I have experienced.

When a painter thinks to disengage from the world outside himself and fantasies unprecedented forms he thinks he will make a painting, he finds in this expression the same effect - I would even say the same picture - that he had unconsciously acquired by his habit to experience reality intensely.

'Santa Sangre' is the picture I love the best, myself, because 'El Topo' and 'The Holy Mountain' I made with my head, and 'Santa Sangre' I made with my feelings, with my heart. It's an emotional picture. And it's more real for me, that picture.

The Academies of Art are nothing but great painting factories - those with talent are fed in at one end, and they come out as mechanical painting machines.

It's very difficult to know when you're crossing the boundary. I hate the word boundary because I never think about it when taking a picture. Very often it doesn't mean anything because it depends on who's looking at the picture more than the content of the picture itself.

When you consider what you would love to accomplish in your life but feel ill-prepared to bring it about, picture the eighty-nine Michelangelo living five centuries ago, painting, sculpting, and writing. Imagine he is telling you that you can create whatever you desire, and the great danger is not in having too much hope, but in reaching what you have perceived as hopeless.

Well, painting today certainly seems very vibrant, very alive, very exiting. Five or six of my contemporaries around New York are doing very vital work, and the direction that painting seems to be taken here - is - away from the easel - into some sort, some kind of wall, wall painting.

A painting has its own existence and reality, and I make changes freely to meet the painting's needs. This sometimes takes me in another direction.

In figure painting, the type of all painting, I have endeavoured to set forth that the principal if not sole source of life enchantments are Tactile Values, Movement and Space Composition.

Make a small painting of what you want to do... and project it up on a white wall... The enlarged version is so changed that there is no way of just visualizing it in the brain... It's a whole new dimension in painting.

I attended the High School of Industrial Arts and studied with many great artists as painting is something that you never stop learning about. Actually, in high school there was a time that I was thinking about just concentrating on painting and I asked my music teacher, Mr. Sondberg, for advice and he encouraged me to stick with the music as well. So all my life I have been singing and painting.

Is there in painting an effect which arises from the being together of repose and energy in the artist's mind? - can both repose and energy be seen in a painting's line and color, plane and volume, surface and depth, detail and composition? - and is the true effect of a good painting on the spectator one that makes at once for repose and energy, calmness and intensity, serenity and stir?

Experience has proved that there is no difference between a so-called realist painting - of a landscape, for example - and an abstract painting. They both have more or less the same effect on the observer.

The proletarian writer is a writer with a purpose; he thinks no more of art for art's sake than a man on a sinking ship thinks of painting a beautiful picture in the cabin; he thinks of getting ashore - and then there will be time enough for art.

Painting, like music, has nothing to do with the reproduction of nature, nor interpretation of intellectual meanings. Whoever is able to feel the beauty of colors and forms has understood nonobjective painting.

In 1939 I wrote my first article ("Intime banaliteter" [Intimate banalities] in the journal Helhesten) in which I expressed my love for sofa painting, and for the last twenty years I have been preoccupied with the idea of rendering homage to it. Thus I act with full responsibility and after extensive reflection. Only my current situation has enabled me to accomplish the expensive task of demonstrating that the preferred sustenance of painting is painting.

Santa Sangre is the picture I love the best, myself, because El Topo and The Holy Mountain I made with my head, and Santa Sangre I made with my feelings, with my heart. It's an emotional picture. And it's more real for me, that picture.

A lot of young painters love to incorporate celebrity. One idea of being a painter is to use what's happening at the time. Velázquez was painting of his time. And so was Rembrandt. And Francis Bacon was painting his time in London. He was a real mover, but he saw the insect in the rose. But yes, when I do a painting, I want to take the "I did this" out of it. That's why I started using chance, like the markings on the wood. I never wanted to compose.

Remember the enemy of all painting is gray: a painting will almost always appear grayer than it is, on account of its oblique position under the light.

It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.

I think that time moves slower in painting. And maybe that accounts for a lot of the anxiety around painting in the last 40 or 50 years.

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.

'Jaws' was the first A-list picture that was released like an exploitation picture. They made a lot of money with that picture because they could save a lot of money on advertising. Instead of having a full-page ad in 'The New York Times' for one theater, they had it for 100 theaters.

My music is more than me writing a flashy soul song. They're heartfelt songs about my family and true stories. I have also songs that aren't personal, but just painting a picture. I don't like being put under labels, but my music is going to continue to stay classic and timeless forever.

That sculpture is more admirable than painting for the reason that it contains relief and painting does not is completely false. ... Rather, how much more admirable the painting must be considered, if having no relief at all, it appears to have as much as sculpture!

We may worship a picture as God, but not God as the picture. God in the picture is right, but the picture as God is wrong. God in the image is perfectly right. There is no danger there. This is the real worship of God. But the image-God is a mere Pratika.

I bought a painting in Madrid on my first trip there too and a lot of people say, 'Well it's not the greatest painting' and I say, 'It is to me.' OK, you can look at a beautiful painting and say, 'That's beautiful' but to me, it feels warmer to fill my home with pictures of friends and family and paintings of places I've gone. That's what I want to come home to.

I love art so much because of curiosity. At the start of a painting, I know 10 percent of what the painting will be, and then I have to improvise the whole thing.

I do not think my painting has ever been revolutionary. It was not directed against any kind of painting. I have never wanted to prove that I was right and someone else wrong.

Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind.

An artist makes a painting, and nobody bugs him or her about it. It's just you and your painting. To me, that's the way it should be with film as well.

Painting is a science, and should be pursued as an inquiry into the laws of nature. Why, then, may not landscape painting be considered as a branch of natural philosophy, of which pictures are but the experiments?

In my earlier paintings, I wanted the space between the picture plane and the spectator to be active. It was in that space, paradoxically, the painting 'took place.' Then, little by little, and to some extent deliberately, I made it go the other way, opening up an interior space... so that there was a layered, shallow depth.

I feel like what's most important for painting - which has been hierarchically on the top for a really long time in terms of what is considered fine art, by comparison with something like a comic book or what's considered low art - is that painting should open up laterally to include other cultures and things that don't immediately resonate as a painting but are obviously of equal contribution to the genre.

When the painting is hanging on your wall for a long time, you don't notice it. You get tired of it, even if it's a Picasso. When the next generation inherits the painting, they sell it. I don't want to be sold.

He's very alive in a scene. He's a very good actor to act with. Even though through most of the picture he's blind, there are many places early in the picture I got to be with him before he was blind. Like convincing him in the office to do the picture.

It is so hard and long before a student comes to a realization that these [first] few large simple spots in right relations are the most important things in the study of painting. They are the fundamentals of all painting.

I don’t trust painting. At least not in New York. Most painting here relies on formula and repetition, whoring itself to the market. There seems to be no risk and once a painter gets a strategy, very little exploration. As a result, I stopped thinking about painting a long time ago. I prefer forms of art that are more market-resistant, more idea-based, more - for lack of a better word - risky.

No one purposefully paints a bad painting. It's someone who's trying to do a good painting, but it's terrible. I have one with a matador, and the bull is going through the blanket. You can tell the painter didn't know how to paint it.

The feeling we experience while we look at a picture is not to be distinguished from the picture or from ourselves. the feeling, picture, and ourselves are united in one mystery.

Something in me knows where I’m going, and - well, painting is a state of being. ... Painting is self-discovery. Every good artist paints what he is.

There is a kinship between music and painting - with the same words used to describe both, as when a musical composition is said to have color and a painting to have rhythm.

I almost always remember a picture I took with someone. If they said, 'Hey, here's a picture of us from five years ago,' and if I look at the picture, I almost always remember that specific time.

I do have great respect for painting, but I am definitely not a painter. I make drawings of paintings, and I'm jealous of painting for sure, but, for me, the paper gives my work a limit.

There's always a time in any series of work where you get to a certain point and your work is going steadily and each picture is better than the next, and then you sort of level off and that's when you realize that it's not that each picture is better then the next, it's that each picture up's the ante. And that every time you take one good picture, the next one has got to be better.

Formulate and stamp indelibly on your mind a mental picture of yourself as succeeding. Hold this picture tenaciously. Never permit it to fade. Your mind will seek to develop the picture... Do not build up obstacles in your imagination.

Formerly pictures used to move towards completion in progressive stages. Each day would bring something new. A picture was a sum of additions. With me, picture is a sum of destructions. I do a picture, then I destroy it. But in the long run nothing is lost; the red that I took away from one place turns up somewhere else.

I'm not so facile that I can accomplish or find out what I want to know or explore enough of the possibilities and a way of making a painting, say, in just one painting or two paintings.

Only when painting isn't painting can there be an affront to modesty.

Painting is a duality and abstract painting is an entirely aesthetic thing. It always remains on one level. It is only really interesting in the beauty of its patterns or its shapes.

One paradox I have found is that, the more you use computers in picture-making, the more hand-made the picture becomes. Oddly, then, digital technology is leading, in my work at least, toward a greater reliance on handmaking because the assembly and montage of the various parts of the picture is done very carefully by hand.

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.

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.

Not all paintings are abstract; they're not all Jackson Pollock. There's value in a photograph of a man alone on a boat at sea, and there is value in painting of a man alone on a boat at sea. In the painting, the painting has more freedom to express an idea, more latitude in being able to elicit certain emotion.

I realized that most people waste their lives earning a living, and I wanted to live. I love painting, so I keep painting. That's how I became an artist.

Painting from life was incredibly important for me because it allowed me to train my eyes to see everything that is there. But I realized early on that painting from life wasn't something that I was all that invested in. I was always more interested in the painting than I was the people. For me, removing that as a compulsion offered me a lot more freedom to actually paint and think about color, form, movement, and light.