The painting rises from the brushstrokes as a poem rises from the words. The meaning comes later.
If you have any notion of where you are going, you will never get anywhere.
A simple line painted with the brush can lead to freedom and happiness.
You can look at a picture for a week and never think of it again. You can also look at the picture for a second and think of it all your life.
To gain freedom is to gain simplicity.
I try to apply colors like words that shape poems, like notes that shape music.
When I stand before a canvas, I never know what I'll do, and I am the first one surprised at what comes out.
What I am seeking... is a motionless movement, something equivalent to what is called the eloquence of silence.
More important than a work of art itself is what it will sow. Art can die, a painting can disappear. What counts is the seed.
Poetry and painting are done in the same way you make love; it's an exchange of blood, a total embrace - without caution, without any thought of protecting yourself.
Painting must be fertile. It must give birth to a world.. ..it must fertilize the imagination.
The simplest things give me ideas.
The works must be conceived with fire in the soul but executed with clinical coolness.
I think of my studio as a vegetable garden, where things follow their natural course. They grow, they ripen. You have to graft. You have to water.
I believe that to do anything in this world one needs a love for risk and adventure, and above all, to be able to do without what middle-class families call "future."
For me an object is something living. This cigarette or this box of matches contains a secret life much more intense than that of certain human beings.
I make no distinction between poetry and painting.
The more I work, the more I want to work.
Never, never do I set to work on a canvas in the state it comes in from the shop. I provoke accidents - a form, a splotch of color. Any accident is good enough. I let the matiere decide. Then I prepare a ground by, for example, wiping my brushes on the canvas. Letting fall some drops of turpentine on it would do just as well. If I want to make a drawing I crumple the sheet of paper or I wet it; the flowing water traces a line and this line may suggest what is to come next.
For me, a painting must give off sparks. It must dazzle like the beauty of a woman or a poem.
The spectacle of the sky overwhelms me. Im overwhelmed when I see, in an immense sky, the crescent of the moon, or the sun. There, in my pictures, tiny forms in huge empty spaces. Empty spaces, empty horizons, empty plains - everything which is bare has always greatly impressed me.
The more ignoble I find life, the more strongly I react by contradiction, in humour and in an outburst of liberty and expansion.
For me, a picture should be like sparks. It must dazzle like the beauty of a woman or a poem. It must have radiance; it must be like those stones which Pyrenean shepherds use to light their pipes.
I want to assassinate painting.
I work like a gardener.
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