Top 1200 Painting A Picture Quotes & Sayings - Page 6

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.

If you think you are the entire picture, you will never see the big picture.

What any true painting touches is an absence - an absence of which without the painting, we might be unaware. And that would be our loss.

It's one thing to ask for a picture, but to just take a picture of me is kinda weird, guys.

My drawing was not a picture of a hat. It was a picture of a boa constrictor digesting an elephant.

I've gone on Twitter, and I've seen a picture of me walking through the airport, or some random picture, and the person's like, 'Oh my God. I just saw Chilli.' They just take a picture, and it lets people know where you are. It's just crazy to me even when people do that.

I've always been somebody who, when I started a picture, never knew what the next picture would be.

The process for writing a picture book is completely different from the process of writing a chapter book or novel. For one thing, most of my picture books rhyme. Also, when I write a picture book I'm always thinking about the role the pictures will play in the telling of the story. It can take me several months to write a picture book, but it takes me several years to write a novel.

As a general truth, it is safe to say that any picture that produces a moral impression is a bad picture.

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.

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

In my experience a painting is not made with colors and paint at all. I don't know what a painting is; who knows what sets off even the desire to paint?

I am pessimistic about a picture's power to be the emissary of just one thing. What I hope is that the picture says, "Here I am, this is what I am like," and the person seeing the picture says in return, 'You know a lot but you don't know half of what I know.'

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.

A good picture, any picture, has to be bristling with razor blades.

You are not just a big-picture girl for me, Brooke Parker. You’re the only picture.

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.

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.

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

Could you imagine people eating a painting - if they could introduce a painting into their bodies? It's probably the artist's dream, and we have the opportunity to do so.

I guess I can picture things once they're done - I just can't picture actually doing them.

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.

For me, preparing the canvas takes longer than painting. The actual painting takes about half an hour.

Picasso didn't stop painting when he was 41 years old because he felt he wasn't relevant, but he kept going and the painting he made before he died are now worth 40 million dollars.

Trust is always a factor. You've just got to look at the big picture, and you've got to look at the small picture - the small picture in the sense that you've got to make every scene work and you've got to deal with what people are presenting you with, too.

I find the Doomsday picture Al Gore is painting - a six-meter sea level rise, fifteen times the IPCC number - entirely without merit...I protest vigorously the idea that the climate reacts like a home heating system to a changed setting of the thermostat: just turn the dial, and the desired temperature will soon be reached.

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.

The attitude of silent observation is the very foundation of yoga. You see the picture, but you are not the picture.

The job is trying to create movie shots that have depth, that have the meanings you need them to have, and then good enough so that they will add something to the final picture. They will make the picture; they'll get into the picture, and give them what they need. It's an interesting job.

I think the way kids create is so inspiring. They're drawing a picture? They love the picture they drew; they're not tortured about it.

Frame in terms of what you want to have in the picture, not about making a nice picture, that anybody can do.

Vladimir Putin bribed a soccer official with a Picasso painting so he would support Russia's bid to host the 2018 World Cup. Putin was like, 'It wasn't Picasso, just picture of what his face would look like if he said no.' (Nose over here, eye up here, ear in forehead.)

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 feel that whatever picture an artist makes it is in part a picture of himself - a matter of identity.

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

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

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.

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

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.

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.

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.

I was walking along a road one evening – on one side lay the city, and below me was the fjord. The sun went down – the clouds were stained red, as if with blood. I felt as though the whole of nature was screaming – it seemed as though I could hear a scream. I painted that picture, painting the clouds like real blood. The colours screamed.

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.

Some people look at a picture for thirty seconds, some for years. It doesn't really matter because a picture is like life. You take out of life as much as you are able to take out of life, just as you take out of a picture as much as you can take out of a picture.

What's great about it is that painting doesn't move. And so in the 21st century, when we're used to clicking and browsing and having constant choice, painting simply sits there silently and begs you to notice the smallest of detail.

People believe pictures. It's a photograph that's in your passport, not a painting. Now, George Bernard Shaw said, 'I would exchange every painting of Christ for one snapshot.' That's what the power of photography is.

People don't realize what they have when they own a picture by me. Each picture is a phial with my blood. That is what has gone into it.

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.

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.

I have to go with what the painting says to me. The painting is always informing me. I'm its servant; it's not mine. I'm doing what it wants.

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.

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

I am a bigger-picture manager because I've lived through something that's a big picture.

Picture all the money that I've gotten off tours. Now picture me plotting for more.

My picture [A Boat Passing a Lock, 1823-6] is liked at the [Royal] Academy, indeed it forms a decided feature and its light can not be put out. Because it is the light of nature - the Mother of all that is valuable in poetry - painting or anything else... my execution annoys most of them and all the scholastic ones - perhaps the scarifies I make for 'lightness' and 'brightness' is too much but these things are the essence of Landscape.

For example, in one of my last exhibitions I had a 50-foot massive painting with I think perhaps a hundred thousand hand-painted small flowers. This was the Christ painting [The Dead Christ in the Tomb, 2008] in my Down exhibition [2008]. Now, I simply can't spend eight hours a day painting small, identical flowers. And so I've got a team that allows me to have these grand, sweeping statements.

Photography brought a lot to painting because it forced artists to think about what painting could do that photography couldn't.

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.

For me, the subject of the picture is always more important than the picture.

The arrangement of the words matters, and the arrangement you want can be found in the picture in your mind. The picture dictates the arrangement. The picture dictates whether this will be a sentence with or without clauses, a sentence that ends hard or a dying-fall sentence, long or short, active or passive.