Top 1200 Paintings Quotes & Sayings - Page 14

Hyperrealism is more about objectifying... how an object can be portrayed when it is seen through a camera's lens... all my paintings are about an object being viewed through human eyes.

I also take pleasure in the so-called negative power in Grotjahn's work. That is, I love his paintings for what they are not. Unlike much art of the past decade, Grotjahn isn't simply working from a prescribed checklist of academically acceptable, curator-approved 'isms' and twists.

He [Michael Jackson] would choose specific moments. They were art history books that I prefer. They were paintings that he prefers. It's this dance back and forth. We were halfway through the dance. He died.

I think it's absurd to believe that movies should look like paintings and say something like serious books say something.

I didn't go to school for illustration. I did larger pieces, mostly drawings and paintings, and minored in video, but when I moved to N.Y.C., I didn't have a studio space anymore and downsized to my desk and started illustrating. I started a greeting card company and sold cards all over the city.

The way I create music is maybe like a painting, to compose in a more visual way. Basically it's the music that I want to hear- that's my inspiration and bottom line. I just try to get ideas from books, movies, paintings.

I think that has been a benefit to me because I think most people understand quilts and not a lot of people understand paintings. But yet they're looking at one.

I'm a huge science fan; I read a lot of science books. But I'm not a scientist, my interest in science is I love the facts, but I like to interpret those facts. They become the raw materials for stories and paintings and things.

I personally prefer working digitally because it allows me to work quickly and cleanly. I don't have to buy paint or brushes or canvases, I don't have to wait for paintings to dry before sending them to clients, I don't have to photograph or scan my final work, and I can make edits immediately and easily.

You never, ever leave art school. It's important to keep finding inspiration. I look at YouTube videos and think, 'How would I do that?' I like experimenting with things. For instance, drying paintings off too quickly in a microwave can look strangely beautiful.

Very few people have a natural feeling for painting, and so, of course, they naturally think that painting is an expression of the artist's mood. But it rarely is. Very often he may be in greatest despair and be painting his happiest paintings.

Picasso's always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.

When the modern movement began, starting perhaps with the paintings of Manet and the poetry of Baudelaire and Rimbaud, what distinguished the modern movement was the enormous honesty that writers, painters and playwrights displayed about themselves. The bourgeois novel flinches from such notions.

Each of us is a small part of God's plan. I'm a small part. I create paintings that are being used by God.

Think of Florence, Paris, London, New York. Nobody visiting them for the first time is a stranger because he's already visited them in paintings, novels, history books and films. But if a city hasn't been used by an artist, not even the inhabitants live there imaginatively.

My paintings are inspirational for they allow the observer to experience infinite viewpoints and perceptions. They are not abstract for they represent what is actually more real than what our eyes are able to see. They allow the viewers to be inspired by taking their own perception beyond their senses and their surroundings.

The paintings don't exist outside themselves. There's no lead photograph off the internet or anything like that. It all comes from my mind and it's a bit like a little movie each time - how do I get the props, the setting, the time of day, the light, the action.

All pictures are unnatural. All pictures are sad because they're about dead people. Paintings you don't think of in a special time or with a specific event. With photos I always think I'm looking at something dead.

The way I paint is similar to rock in that you don't stand around and say, 'Gee, what are they talking about?' Rock is simple, blunt, colorful. Same with my paintings. You don't stand back and wonder what it is. That's Jim Morrison, that's a panda, that's a scene on the West Coast. It's not abstract.

When my kids were young, we used to go to a place called The Shrine of the Black Madonna in Houston. It was an African-American bookstore where they sold paintings, but they also had a room that was an all-purpose center. If you wanted to have a dance recital or anything that was related to the community activities, you could have it there.

A museum should not just be a place for fancy paintings but should be a place where we can communicate our lives through our everyday objects.

Sculpture is more divine, and more like Nature, That fashions all her works in high relief, And that is Sculpture. This vast ball, the Earth, Was moulded out of clay, and baked in fire; Men, women, and all animals that breathe Are statues, and not paintings.

I feel like I have to avoid certain thrift store-isms, having been known for the thrift store paintings. It's like I have to not paint that way.

Movie actors disappear - any young person wouldn't know Cary Grant. They're going to disappear. Fifty years ago, you thought film was here to stay. But nothing is here to stay, actually - except perhaps paintings and drawings.

It's all about commerce. Movies are not made like paintings, where you can make them for free and put them at the side. Movies are supposed to make money.

As far as I was concerned, with the early paintings, I liked them, I thought they were pretty good, but I didn't think it was the end of the world. I also thought of it as a kind of structure, a base to build on. So this proves I can do this and that, and they don't collapse, so then what can I do from here? How can I build on it?

I couldn't go into the haphazard drawing or the paintings, the splashing of paint. I wanted to go back to a completely dry drawing, a dry conception of art.

The paintings are more about physicality and gesture than meditation. I'd compare it to playing scales on the Cello - each sound (pitch and intensity) depends on the manner in which you hold and apply the bow. The same goes for the gesture of applying paint to a surface.

I often avoid using the terms 'figuration' and 'abstraction' because I've always tried to have it both ways. I want the experience of looking at one of my paintings to be similar to the process of making the painting - you go from the big picture to something very intense and detailed, and then back again.

When I look back on the years of excessive self-doubt, I wonder how I was able to make my paintings. In part, I managed to paint because I had a desire, as strong as the desire for food and sex, to push through, to make an image that signified.

I’ve been looking at oil paintings from oriental artists lately, and the one artist who’s inspired me right now is a man named Hokusai and I’ve had his book by my bed looking at how he interprets landscapes – mountains and water and flowers and birds.

During the days of my youth, critics and art-lovers resorted freely to this term of abuse. Even some of the most renowned Old Masters were also pilloried as having manufactured insipid and sugary paintings that were offensive to good taste.

Although the poet has as wide a choice of subjects as the painter, his creations fail to afford as much satisfaction to mankind as do paintings... if the poet serves the understanding by way of the ear, the painter does so by the eye, which is the nobler sense.

I was an art student when I was a boy, and as an art student you don't have to talk to anyone - you just have to paint really wonderful paintings. It's very unlike being an actor, where you have to talk all the time.

My movies are film-paintings - moving portraits captured on celluloid. I'll layer that with sound to create a unique mood -- like if the Mona Lisa opened her mouth, and there would be a wind, and she'd turn back and smile. It would be strange and beautiful.

Entering into the spirit of this interior, you will discover the best possible atmosphere in which to show fine paintings or listen to music. It is this atmosphere that seems to me most lacking in our art galleries, museums, music halls and theaters.

It was hard for me to move forward, because I take responsibility for what I introduce into the world through my paintings. So to actually introduce something evil or bad was quite hard for me.

Every so often, a painter has to destroy painting. Cezanne did it, Picasso did it with Cubism. Then Pollock did it. He busted our idea of a picture all to hell. Then there could be new paintings again.

People who put my paintings on their walls are putting their values on their walls: faith, family, home, a simpler way of living, the beauty of nature, quiet, tranquillity, peace, joy, hope. They beckon you into this world that provides an alternative to your nightly news broadcast.

Sometimes I'll dream that I saw a show and then I'll wake up in the morning and realize that I didn't see the show, that it was my dream. And I just remember what the paintings look like in the dream and I think, "Oh, nobody painted those. I can do that."

People live for love. They kill for love. They die for love. They have songs, poems, novels, sculptures, paintings, myths, legends. It's one of the most powerful brain systems on Earth for both great joy and great sorrow.

I had a bunch of paintings around at my house, and someone said to me, 'Why don't you just put them on Instagram? Why don't you show people these?' And I didn't want to - it was just something else I would have to do. But eventually, I was like, 'What's the harm?' And the response was so insane!

This was pointed out to me by somebody who referred to the paintings of Rembrandt and his use of light: some elements are highlighted while others are obscured or even pushed back into the dark. And it's something that we do - we bring out elements that we want to emphasise.

The enjoyment we get from something is powerfully influenced by what we think that thing really is. This is true for intellectual pleasures, such as the appreciation of paintings and stories, and it is true as well for pleasures that seem simpler and more animalistic, such as the satisfaction of hunger and lust.

When you look at the paintings at Chauvet Cave, they're not primitive or like children's little scribbles, it bursts on the scene fully accomplished and when you look through the faces of cultural history, art history, it has never gotten any better.

I like to add props to render the specificities of place - paintings, food, clothing, signs, infrastructure, music, sayings and slang particular to the region and particular to the character. And props shouldn't just sit there; they should get used.

I always bought pictures, I only started to buy oil paintings when I started to make serious amounts of money because they cost a serious amount of money.

I take this art very seriously and passionately. I love what I do. You can't help but grow. That's not to say you don't make mistakes or make bad choices, but that's part of the art. Painters paint bad paintings.

A few years ago, Bill Gates was boasting that we'll soon have sensors which will turn on the music that we like or show on the walls the paintings we like when we walk into a room. How boring! The hell with our preexisting likes; let's expand ourselves intellectually.

The visual palette suggests the creepy pastel paintings of Guy Peellaert (Rock Dreams); the fantasy battles with monsters and samurais echo the muscular landscapes of Frank Frazetta and Boris Vallejo. The movie is like an arrested adolescent's Google search run amok.

When it comes to music, movies, literature, paintings, and even Bikram yoga, it's pretty easy to have an opinion about whether something has been copied. Software, on the other hand, was an awkward late addition to the original Copyright Act of 1976, shoehorned into section 102(a) as a 'literary work.'

If someone stands in front of one of my paintings and says, 'This is just a mess', the word 'just' is not so good, but 'mess' might be right. Why not a mess? If it makes you say, 'Wow, I've never seen anything like that', that's beautiful.

You have to like everything that you're painting. Maybe on a narrative level it seems harsh... but I like everything in all my paintings. It's as if you need to be less intelligent at that level.

We are so fortunate, as Australians, to have among us the oldest continuing cultures in human history. Cultures that link our nation with deepest antiquity. We have Aboriginal rock art in the Kimberley that is as ancient as the great Palaeolithic cave paintings at Altamira and Lascaux in Europe.

It's difficult for me to have a large story, a very large story - a novel is a large story. I'm used to writing and doing these little miniature paintings.

How many of the people I know - sons and daughters - have intricate abstract expressionist paintings of their mothers, created out of their own emotions, attitudes, hands. And how many have only Polaroid pictures of their fathers.

I can't make things I don't feel passionately about. I've never been able to. Years ago when I was going through college, I was trying to earn some extra money by making motel paintings and it was the hardest work I've ever done in my life, psychically. It was just torture.

I've been working with Disney all these years doing voice work, and now I'm signed with Disney Fine Arts, doing 'Beauty and the Beast' oil paintings. So it's been an ongoing wonderful job.

I don't think paintings of nude women represent all women, but at the same time, I can't fault artists for putting out what inspires and challenges them. But for me, I'm not sure it's necessary for our bodies to define us, especially now when there are so many examples of femininity, of womanhood.

If I were making paintings of a bowl of fruit it would still be viewed through some sort of political lens, because the viewer wants to create a type of narrative around the political theme when they look at work depicting black and brown models.