It’s helpful for me to get ideas – the physical action of painting. Sometimes it frees up your writer brain. It’s nice for me now that the writing has become a serious career that painting can become more like a hobby.
I gave up painting by 16. I secretly thought I would have been Rembrandt by then.
A revolution is not a dinner party, or writing an essay, or painting a picture, or doing embroidery.
‘Painting like a child’ isn’t a negative for me… it’s something only great artists can really achieve. The childlike quality of some of Picasso’s drawings is precisely what makes them so masterful and extraordinary; the ability to express complete visions, feelings and portraits through a continuous line.
I think music has gone through a period of something very severe, rather radical, rather the way painting did with cubism.
We really were poised to make ‘Rumours 2,’ and that could’ve been the beginning of kind of painting yourself into a corner in terms of living up to the labels that were being placed on you as a band.
We feel closer to the drawings on the walls of Chauvet than the painting of, say, an Egyptian mural. These artists are not remote ancestors; they are brothers. They saw like us; they drew like us. We wear essentially the same clothes against the cold.
In traditional Asian arts, the word and the picture always sit next to each other. I have an aunt, a Chinese brush painter, who told me that when you do a Chinese brush painting, you have to pair the image up with some poetry.
Where painting is weakest, namely, in the expression of the highest moral and spiritual ideas, there music is sublimely strong.
I’m starting to develop my practice, learning how to come home after a really long day of shooting and letting myself breathe. I’m drawing and painting and listening to my music and keeping those things separate.
Small paintings can be fantastic. But you can’t often get a narrative out of a small painting. In any case, museums are huge places, and you want to take up some space.
Once my paintings are complete, the model no longer lives in the painting as themselves. I see something bigger, more symbolic – an archetype.
Whereas painting is a more rarefied art form, with a limited audience, I recognized film as this extraordinary social tool that could reach tremendous numbers of people.
Just because someone said painting is dead doesn’t mean that it’s a fact or the truth – painting is the soul food of art, in a way.
When me and Sheila got married, all we had was an oval table, four chairs, a bed, and a painting by Matthew Smith.
True Boogie-Woogie I conceive as homogeneous in intention with mine in painting: destruction of melody, which is the equivalent of destruction of natural appearance, and construction through the continuous opposition of pure means – dynamic rhythm.
It is not hard to understand modern art. If it hangs on a wall it’s a painting, and if you can walk around it it’s a sculpture.
Painting… in which the inner and the outer man are inseparable, transcends technique, transcends subject and moves into the realm of the inevitable.
I had a wife and children. I was mostly working in painting and decorating and then taking the occasional acting job as they came along. At that stage in your life you have to think about your priorities. It looked like I was going to have to take the building more seriously and give up acting.
For me, my 20s were all about reaching for the brass ring of work in theater, television, and film, surviving in between by waiting tables, painting houses, serving coffee, and temping.
To me, writing and composing are much more like painting, about colors and brushes; I don’t use a computer when I write, and I don’t use a piano. I’m at a desk writing, and it’s very broad strokes and notes as colors on a palette.
Painting self-portraits without clothes on has also given me some publicity.
All gardening is landscape painting.
I feel like vocals are to music what portraits are to painting. They’re the humanity. Landscapes are good and fine, but at the end of the day everyone loves the Mona Lisa.
I approach video games the same way I approach theatre, filmmaking, poetry, or painting. I wish more people would take that point of view. It would help the industry to move on.
I’m a storyteller. I love to tell stories about brands. I love to tell stories, period. I like painting pictures through the words, and that’s what I do.
The dog, the rabbit and the hoop all feature in the painting, and take the place of the orrery.
Let us together create the new building of the future, which will be everything in one form: architecture and sculpture and painting.
Painting is self-discovery. Every good artist paints what he is.
I think a painting should include more experience than simply intended statement.
I’ve dreamed landscapes for years, and my dreams play an enormous role in my work. In fact, when I first started doing landscapes I felt insecure about painting in this style, and the dreams were like positive omens for me, and I’ve done a few paintings that were exact replicas of images that came to me in dreams.
I do portraits. I usually do live models in a class environment, but I’ve been painting at home more. I really love the human form, and I love faces. I’ve tried to do landscapes a few times.
To do a drawing for a painting most often means doing something very sketchy and schematic and then later making it polished.
Maybe some people, when they sit down to write their great novel or make their great record or paint their great painting, they have it all planned out in their head. But for me, it’s never worked that way.
Most people don’t really like to pose. It is difficult to get them to be present and relaxed under this kind of molecular scrutiny. I want them to understand I’m not simply painting them: I am painting them within a precise moment in time, as a shadow moves across their eyebrows. Then it is gone. The moment is over.
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.
There was a whole language that I could never make function for myself in relationship to painting and that was attitudes like tortured, struggle, pain.
And since geometry is the right foundation of all painting, I have decided to teach its rudiments and principles to all youngsters eager for art.
I slowly dismantled the act of painting, to consider the possibility that no-thing ever really transcends its immediate environment.
I’m very interested to see how this new painting will go – I know I want it big and stark, and as I said, I follow the muse, and that’s when it always works perfectly for me.
I enjoy painting. It’s an incredible release of tension, and I feel very excited doing it. I squeeze out some wonderful red paint, and I get a thrill. My heart starts beating faster. It’s almost a sensual thing working with these thick acrylic paints. I almost want to put my hands in.
Illustrating is more about communicating specific ideas to a reader. Painting is more like pure science, more about the act of painting.
Painting is concerned with all the 10 attributes of sight; which are: Darkness, Light, Solidity and Colour, Form and Position, Distance and Propinquity, Motion and Rest.
Painting from nature is not copying the object; it is realizing one’s sensations.
If you listen to one of my albums, you can tell I do a lot of different things. In the case of ‘Vincent’, I thought of his picture ‘Starry Night.’ It was a beautiful road-map for a song. I used a lot of imagery from that painting.
When I work, I’m thinking in terms of purely visual effects and relations, and any verbal equivalent is something that comes afterwards. But it’s inconceivable to me that I could experience things and not have them enter into my painting.
Painting is sometimes like those recipes where you do all manner of elaborate things to a duck, and then end up putting it on one side and only using the skin.
I never was very capable of expressing my feelings or emotions in words. I don’t know whether this is the cause why I did it in music and also why I did it in painting. Or vice versa: That I had this way as an outlet. I could renounce expressing something in words.
You know, painting has given me a lot of freedom, because for some reason, I’ve been able to paint things, organize things in a way that I see that don’t have any buffers or compromises in them.
I’ve come up through art school, through painting, through graphic design, through advertising, through TV commercials and music video. I’ve designed books, built billboards, matchbooks, corporate identities. I continuously paint, I’ve done conceptual art pictures.
The painting is not on a surface, but on a plane which is imagined. It moves in a mind. It is not there physically at all. It is an illusion, a piece of magic, so that what you see is not what you see.
My aim in painting has always been the most exact transcription possible of my most intimate impression of nature.
Stained glass is unique from the outside, but as a painting insider, I know that oil painting’s all about light. And it’s about the depiction of light, the way that it bounces off different types of skin, different landscapes. The mastery of that light is the obsession of most of my painter friends.
