Painting Quotes - Page 44

You're going to react to a painting in a way that the painting demands you react.

I love to paint. It's more of a hobby, but people love the paintings so much that I end up selling whatever I paint.

I have never really liked gigantic-scale painting. I think that so many artists are seduced by scale - "Well, if I make it that big then it has to go in a museum."

Willem de Kooning paintings are a language to be learned. When they were first shown, they were ridiculed as being just drips and splatters and splashes. You had to learn how to read them.

I don't very much enjoy looking at paintings in general. I know too much about them. I take them apart.

Objective painting is not good painting unless it is good in the abstract sense.

I see no reason for painting anything that can be put into any other form as well.

I am trying with all my skill to do a painting that is all woman, as well as all of me.

Never paint your wife or your mother.

On painting and fighting looke aloofe. [On painting and fighting look aloof.]

I've been trying to pick up painting but it's hard.

If more than ten percent of the public likes a painting, it should be burned.

I love my old paintings as postulates as fresh starting points but I have to destroy them. I have to make a new manifesto.

Nowhere in my collection do I, say, have a Auguste Renoir painting. Because everybody knows that this is a good painter without me having to demonstrate it.

When Michael Werner saw a painting of mine, such as Die grosse Nacht im Eimer, which back then nobody wanted and everybody thought was ridiculous, he realized that this was the right provocation, that it represented the feeling of the times in the right way.

When I began as an artist, I already did not like expressionism, or abstract expressionism, because abstract painting had already been done. I did not want to belong to any one group or the other, and I'm not one or the other.

I always feel attacked when I'm asked about my painting.

You come back to the beginning. That's why in the "Searching for the Ox" sequence, at the very end of that sequence of the Zen paintings, we're back in the world again.

As far as paintings go, I always think about what it's like to move them and hang them up and hope they don't drop. To me, that seems like a big gamble, but that comes from me not being a painter.

I love painters because I don't paint, so I get to enjoy art; I like collecting paintings.

I don't know any artists or painters, like, "Oh that painting group." I want to write down this idea of a group of artists who treat it like a band. Like, "Who made the painting?" "All four of us did."

Abstract paintings must be as real as those created by the 16th century Italians.

Picasso could use everyone's paintings and transform them into his own. He was using ideas from all of his contemporaries.

When Michelangelo finished the painting of the Sistine Chapel's ceiling, he spent the rest of his life trying to remove the paint that had poured into his sleeve.

Painting gave meaning to my life which without it would not have had