Painting Quotes - Page 31

When in doubt, make a red painting.

I like when people get really close to the paintings, when they can't really get away from them, I like them to operate in that way on the viewer.

Painting is like Golf, the fewer the strokes I take, the better the picture.

Painting is something that you need to do, if not every day, then certainly most days. It is almost like being a pianist: if you stop, you lose something.

Ideally I would like the work to be a hybrid between painting and photography.

I have tried to draw the human effigy (and all the other subjects dealt with in my paintings) in an immediate and effective way without any reference to the aesthetic.

Generally, I am opposed to painting which is concerned with conceptions of simplicity. Everything looks busy to me.

There may or may not be an idea, and the meaning may just be that the painting exists.

Used to be, conservatives revered the Average American, that Norman Rockwell oil painting of diner food, humble faith, honest toil, and Capraesque virtue.

Whenever I got a new studio I made the largest possible painting, and since the ceiling was low, the painting became horizontal. As I changed studios and got larger spaces, I made bigger paintings.

In many ways my paintings are about energy — both in how they are created and the image itself.

Just as with the quartet, each part of a painting is telling a different story.

Rock roll is not obscure, it's really easy to understand. So is my painting.

They are specific places I have discovered here and there when I am on the road to take photos. I go especially to take photos.

Well, I don't believe there are subjects that can't be painted, but there are a lot of things that I personally can't paint.

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.

I paint for myself. I don't know how to do anything else, anyway. Also I have to earn my living, and occupy myself.

If I go to the National Gallery and I look at one of the great paintings that excite me there, it's not so much the painting that excites me as that the painting unlocks all kinds of valves of sensation within me which return me to life more violently.

My method is subtraction. I use erasers to make the images in my paintings. You really have to see it to fully get it, but it is basically erasing shapes from a background of paint.

There is no perfect painting and there is no perfect solution.

I'm a painter, that's where I started out, at four years old, that was my first love as far as expression. So, I'm not a painter in the sense of, "Please come see my paintings" but, I do understand the value of not looking over the artist's shoulder while the work is in progress.

I was always involved in art and when I went under contract at Warner Bros. at 18, it afforded me the possibility of never having to stop painting, never having to stop taking photographs and so on, and to actually live a cultural life.

Photography and painting, all of that fed into my directing eventually.

A lot of painters listen to music, I think, while they paint. But I hate to do that. It's a horror. I can't really listen to the music. I'm not really concentrating on it, and I'm not really concentrating on the painting.

I sort of feel that the role of a portrait in society is to represent the sitters, we see paintings of Shakespeare and we believe that it is what he looked like, well maybe a little older, fatter and with a higher hairline. I guess it would be cool if the portraits that were painted really did look like the sitter or expressed some sort of emotion that gave the viewers in the future a sense of the sitter's pathos at the time it was painted.