I used to do stop motion in my own garage and Claymation and all that stuff. That led to doing backgrounds and matte paintings. I started doing matte paintings professionally back before the computer, sort of painting on glass.
Painting is an illusion, a piece of magic, so what you see is not what you see.
A sad fact of life lately at the Museum of Modern Art is that when it comes to group shows of contemporary painting from the collection, the bar has been set pretty low.
I’m working on a snow scene right now, and it’s summer. It’s hot, and I will get chilly. I’ll have to turn on the heat. My wife walks in, and it’s 95 degrees in the studio. I know it’s nutty, but it’s a projection you have where you step into the painting.
The Bauhaus strives to bring together all creative effort into one whole, to reunify all the disciplines of practical art – sculpture, painting, handicrafts, and crafts – as inseparable components of a new architecture.
Painting is a lonely, mostly solitary act.
In the middle 1940s… I heard everyone live. Painting, the theater; everything was happening. It was an exciting time when New York was the place to be.
Knowing what paint a painter uses or having an understanding of where he was in the history of where he came from doesn’t hurt your appreciation of the painting.
It’s hard to get hot over a painting; there’s no equivalent for teenage obsessiveness. Art obsession is ideology. Ideology can be made sexy, but it’s easier in music.
I’d rather create a miniature painting than a Taj Mahal of a book.
A poet can feel free, in my estimation, to write a poem for himself. Or a painter can paint a painting for himself. You can write a short story for yourself. But for me, comedy by its nature is communal. If other people don’t get it, I’m not sure why you are doing it.
I don’t think I can do this – painting under observation. It’s the worst thing there is, worse than being in the hospital.
I had decent but not great grades in high school because I was highly motivated in some subjects, like the arts, drama, English, and history, but in math and science I was a screw-up. Wooster saw something in me, and I really flourished there. I got into theatre, took photography and painting classes.
I started painting when I was in high school.
People say, ‘What a discipline, painting so much.’ I say, ‘No, I love it.’ Nothing amuses me as much as my work. To have discipline would be not to paint.
Whenever I go on holiday, I like to time travel and imagine what it must have been like 500 years ago. I love the Tuscan landscape, which is reminiscent of a Claude Lorrain painting.
I’ve had a fan who made a painting of my face with her fingers. I have put it up in my room. It was sweet and very different.
I don’t like food that’s too carefully arranged; it makes me think that the chef is spending too much time arranging and not enough time cooking. If I wanted a picture I’d buy a painting.
Painting is really good fun, I have always enjoyed it. As long as I paint what I want with the freedom that I enjoy, I never tire.
When I am in New York, you know, my studio is big, about 20,000 to 25,000 square feet, and I have painting rooms and rooms I do etching in, rooms I do lithographs.
No other human being, no woman, no poem or music, book or painting can replace alcohol in its power to give man the illusion of real creation.
I work on words, mostly, toward them being poetry or short stories, and then some of those become songs. They all find their place in the world, but they all start off in the same place. I’m always painting and drawing as well, and it’s an ongoing creative assignment.
You don’t hire Kehinde Wiley to have a tame painting.
I had wanted to be a sculptor throughout life, but to do so, I had to stop painting.
Painting and writing are solitary arts.
For the general public, my work is sometimes easier than a painting because there is someone addressing you; it can actually be a relief. What’s interesting is the idea of a tourist randomly coming in and the experience they’ll have.
But where there is no art show, I would still be painting.
I think I’ve always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.
I’ve been painting and drawing and taking pictures as long as I’ve been writing music – and I’ve actually been drawing longer than I’ve been writing music.
I do remember when it occurred to me the first time, when I got the idea of painting the way I feel at a given moment. I was sitting in a chair and felt it pressing against me. I still have the drawings where I depicted the sensation of sitting.
I love art, painting, and drawing and studying art, like Rembrandt and Van Gogh.
I paint. I have been painting since I was kid. If I hadn’t gone into radio when I did, I probably would have come out of the Army, gone into the art business, and probably would have flopped because I’m not that great.
I would have liked maybe to be in architecture or painting, something connected to the fine arts.
Yes, you know sometimes, we started out thinking out how strange our painting was next to normal painting, which was anything expressionist. You forget that this has been thirty five years now and people don’t look at it as if it were some kind of oddity.
Well, I am not interested in the kind of expression that you have when you paint a painting with brush strokes. It’s all right, but it’s already done and I want to do something new.
Everything I do, whether it’s producing or signing an artist, always starts with the songs. When I’m listening, I’m looking for a balance that you could see in anything. Whether it’s a great painting or a building or a sunset.
One learns about painting by looking at and imitating other painters.
I am never going to have anything more to do with politics or politicians. When this war is over I shall confine myself entirely to writing and painting.
I do feel like animated films really combine a lot of different of art forms: film-making and writing and drawing and painting – to a certain extent, even sculpting. It’s a wonderful medium to work with as a craftsman because it’s such so rich and so varied and so expressive.
I’m innately conservative, and painting is an ideal place to exercise a progressive conservatism. I operate well within limits.
I’m just a middle-class farm boy from Dodge City, Kansas. And I always thought that acting was art, writing was art, music was art, painting was art, and I’ve tried to keep that cultural vibe to my life.
I want my paintings to look like they were found in a garage. If they get a scratch or a hole in them, it just becomes part of the painting.
A man of eighty has outlived probably three new schools of painting, two of architecture and poetry and a hundred in dress.
At first I had some idea that the absence of color made the work more physical. Early on I was very involved with the notion of the painting as an object and tended to attack that idea from different directions.
I make sure I make a painting – that’s my job. And I cook the Sunday dinner.
I do all these various activities like painting and writing, comedy and films probably because not that I’m good at everything but because I’m not good at any of these things.
I mean, certainly writing, painting, photography, dance, architecture, there is an aspect of almost every art form that is useful and that merges into film in some way.
It’s still an escape for me, painting, so it also takes me elsewhere. I don’t think I would do it otherwise.
Rational intelligence is dangerous and leads to ratiocination. The painter is a medium who doesn’t realize what he is doing. No translation can express the mystery of sensibility, a word, still unreliable, which is nevertheless the basis of painting or poetry, like a kind of alchemy.
There’s nothing worse than sleeping in makeup. You wake up looking like a painting that’s been left out in a rainstorm.
I don’t vote. I voted Labour once, in that moment of euphoria. I know that if people only made a voice for change, then change will happen, but I’m not that person. I’m painting pictures.
Well, I don’t think anyone now would say that they’re painting the state of the culture of America. I think that’s too grand and pompous a thing for anybody to claim.
This kind of painting with its large frames is a bourgeois drawing-room art. It is an art dealer’s art-and that came in after the civil wars following the French Revolution.
I’m not just painting for painting’s sake. I want to be truthful.
If it weren’t for painting, I wouldn’t live; I couldn’t bear the extra strain of things.
It is this research into pure painting that is the problem at the present moment. I do not know any painters in Paris who are really searching for this ideal world.
Since Courbet, it’s been believed that painting is addressed to the retina. That was everyone’s error. The retinal shudder! Before, painting had other functions: it could be religious, philosophical, moral… our whole century is completely retinal, except for the Surrealists, who tried to go outside it somewhat.
With a painting, you don’t have to go back and paint it again.
In many ways, theatre is more rewarding for a writer. I used to think it was like painting a wall – that when the play is finished, it’s done – but now I realise it’s more like gardening; you plant the thing, then you have to constantly tend it. You’re part of a thing that’s living.
