Painting Quotes - Page 43

I think a painting should include more experience than simply intended statement.

I do real paintings, you know. I'm a little messy in the studio, so I'm a bit of a danger. But I just adore it.

Over and over again did the Attorney-General cry out aloud, in the agony of his cause, 'What is to become of painting if the critics withhold their lash?

If you are close to it, a big painting is just a feeling around you, that's all.

It fascinates me to create beautiful paintings with the simplest means.

My skills are not of the highest caliber, but I know a thing or two, and I occasionally produce a painting that contains passages of truth and beauty.

Bums are the well-to-do of this day. They didn't have as far to fall.

When I am painting I have a general notion as to what I am about. I can control the flow of paint: there is no accident.

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.

Now painting is different. It's something recollected in tranquility.

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.

I believe, even when I'm doing my standup or my acting or whatever I'm doing, I believe in painting pictures.

When I look at a painting it isn't only the painting I see but the thing that I am. If there is more in the painting that I am, then I won't see it.

... a canvas that I have covered is worth more than a blank canvas. My pretensions go no further; that is my right to paint, my reason for painting.

It is simply impossible to control a large painting with the edge in the same way that you can control a small one.

In painting, you can suddenly come upon something so huge that no-one can deal with it.

I think I'm just generally more interested in figuration than abstraction. I think that painting abstraction often feels like painting colors to me, whereas portraits always feel like something connected. I like the exchange, the collaborative aspect of sitter and subject for sure.

I do not repudiate any of my paintings but there isn't one of them that I would not redo differently, if I had it to redo. My destination is always the same but I work out a different route to get there.

I switched to painting with my left hand to be in better company.

A painting is a collection of a series of corrections.

As you work on something, whether it's a painting or a piece of music, it's going to evolve. A relationship is like that too.

Friends are discovered rather than made; there are people who are in their own nature friends, only they don't know each other; but certain things, like poetry, music, and paintings are like the Freemason's sign, they reveal the initiated to each other.

I'm also inspired by anything that I consider great. It makes me want to raise my game too - Hitchcock movies, Hopper paintings, Springsteen concerts.

The question of painting is bound up with epistemology, with the engagement of the viewer, with what the viewer may learn.

I can tell really early on in a painting if I'm going to toss it or not.