I’d like to think, that were he alive today, Warhol would be painting the Housewives.
I have this fantasy of my older days, painting or sculpting or making things. I have this fantasy of a bike trip to Chile. I have this fantasy of flying into Morocco. But right now, it’s about getting the work done and getting home to family. I have an adventure every morning, getting up.
Sculpture is the best comment that a painter can make on painting.
I did not want windows, only skylights. I chose my painting wall as it has the best morning light.
I hate painting.
A movie is painting, it’s photography, it’s literature – because you have to have the screenplay – it’s music. Put a different soundtrack to a comedy and it’s a tragedy. A movie combines all those forms and forces you to pay attention for two hours with a group of people.
We look at the Mona Lisa and say we’re going to do our version of the Mona Lisa. We mirror it. But exaptation would say that painting the Mona Lisa would lead to a whole new place… Bugs Bunny.
It was in the 1920s, when nobody had time to reflect, that I saw a still-life painting with a flower that was perfectly exquisite, but so small you really could not appreciate it.
I don’t think money can help you become a better painter, for sure. You can have all the studios you want; it won’t help you make a better painting.
The painting develops before my eyes, unfolding its surprises as it progresses. It is this which gives me the sense of complete liberty, and for this reason I am incapable of forming a plan or making a sketch beforehand.
I’m a big believer in the emotion of design, and the message that’s sent before somebody begins to read, before they get the rest of the information; what is the emotional response they get to the product, to the story, to the painting – whatever it is.
If the world could remain within a frame like a painting on the wall, I think we’d see the beauty then and stand staring in awe.
In the end, the gesture of painting becomes almost meditative, like a ritual.
Painting is the aesthetic side of the object but it has never been original, has never been its own goal.
In England, there is a dividing line between artists and illustrators, who are thought inferior to painters. Well, that’s absolute rubbish. Some of the most creative work is being done in children’s books. In Japan, everything is art. They don’t say painting is better than ceramics or dress design.
Blushes are fun. I like to do circles – like a Caravaggio painting almost, or Victorian looking.
I go through the arc of a relationship with every single painting that I do.
My painting is visible images which conceal nothing… they evoke mystery and indeed when one sees one of my pictures, one asks oneself this simple question ‘What does that mean’? It does not mean anything, because mystery means nothing either, it is unknowable.
In its primary aspect, a painting has no more spiritual message than an exquisite fragment of Venetian glass. The channels by which all noble and imaginative work in painting should touch the soul are not those of the truths of lives.
Then as I turned seven, I gradually moved onto pastels and started painting on large canvases that were much bigger than me.
I’m a terrible technician, and I have a very hard time painting.
Painting, sculpture and architecture are finished, but the art habit continues.
I’ve enjoyed collecting. I’ve enjoyed art ever since – I’ll tell you when – I went to Columbia. I went to the Met, and I saw Poussin’s ‘Rape of the Sabine Women’, and it’s this incredible, epic, great, great painting.
I believe in painting and I believe in eating too. What can we do? We have to eat, we have to paint, we have to live. Of course, there are different ways to survive. But it’s my best option.
Frankly, these days, without a theory to go with it, I can’t see a painting.
My whole life has been singing and painting. I just do those two things.
I learned a lot of painting tricks painting outside.
I felt the need to get back to painting and I thought the best way was to start drawing, so I enrolled in a life drawing class. I soon discovered that people made very interesting subjects and I am still surprised that I had never discovered it before.
I stick the collages on the wall and, if I still like them after a month or two, I make a painting.
In fiction, plenty do the job of conveying information, rousing suspense, painting characters, enabling them to speak. But only certain sentences breathe and shift about, like live matter in soil.
Usually when painters use photographs, they enlarge and copy them and simply make a large, boring painting of a large, boring photograph.
Wine pricing is an art – like painting.
I paint, and painting gives me my much needed break from my routine. Painting was a subject in my school, and I developed a liking for the lines and colours and started practising in my free time. It helps me de-stress amidst my hectic shooting schedules.
I enjoyed art in school. I’ve always done little drawings and stuff like that. I don’t really know what I’m doing with the painting, but I experiment.
Some directors were brilliant in the silent era but never felt at home in sound. It’s like a sculptor being forced to take up painting.
No one can be a painter unless he cares for painting above all else.
I create music; I create painting; I create whatever I want to create. I create, what you say, clothes. I create, I don’t know, dance move. I create anything.
Painting is the frozen evidence of a performance.
I stopped painting in 1990 at the peak of my success just to deny people my beautiful paintings, and I did it out of spite.
I’m very interested in the language of photography in relationship to painting.
A lot of my work is about what’s abstract and what’s pictorial. Is it bubblegum, or is it an abstract painting using bubblegum? The energy comes from walking that line and watching things dip this way and that.
I began to see cinema as the perfect combination of so many wonderful art forms – painting, photography, music, dance, theater.
Writing requires a great deal of skill, just like painting does. People don’t want to learn those skills.
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.
My struggle has been to return painting to the tangible object, which is like returning the personality to touching and feeling the world around it, to offset the tendency to vagueness and abstraction. To remind people of practical activity, to suggest the sense and not to escape from the senses.
The paintings may communicate even better because people are lazy and they can look at a painting with less effort than they can read a poem.
The worlds I paint leave a lot to engage the imagination by hinting at what lies beyond the four edges of the painting. I think getting beyond the four edges of an opportunity or challenge is one of the basic skills you need in business.
When I was young, I didn’t want to do traditional painting and calligraphy. I deliberately wanted to separate from my father so I could feel I existed myself.
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?
Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age.
I would never finish a painting if I didn’t have a deadline.
In French, there is an old expression, la patte, meaning the artist’s touch, his personal style, his ‘paw’. I wanted to get away from la patte and from all that retinal painting.
I have a Damien Hirst spot painting which I love. It has pride of place over my dining-room table.
Used to be, conservatives revered the Average American, that Norman Rockwell oil painting of diner food, humble faith, honest toil, and Capraesque virtue.
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’m a pretty good drawer. I have trouble painting because you literally have to wait for the paint to dry. I’m disciplined, but I’m not patient.
I sometimes use a lot of light greens and greys when I feel there is sadness in the painting.
My grandmother was fond of painting and playing the piano. She had been given lessons by Emmanuel Chabrier, who used to spend the summer months in nearby Membrolle.
If I was painting a picture, I wouldn’t want to take a picture of a single paint stroke. I’d rather show people what it looks like when it’s done.
Does any art have a practical value? People love to talk about how expensive a painting is. That’s the only way we can talk about paintings in this century.
My horizon on humanity is enlarged by reading the writers of poems, seeing a painting, listening to some music, some opera, which has nothing at all to do with a volatile human condition or struggle or whatever. It enriches me as a human being.
