If you're an impressionistic painter and you want to paint expressionism, you've got to change. You've got to figure out a way to do it and do it. If you've been playing jazz all your life and you want to start to play rock n' roll, blues, then do it.
It reflects no great honor on a painter to be able to execute only one thing well -- such as a head, an academy figure, or draperies, animals, landscapes, or the like -- in other words, confining himself to some particular object of study. This is so because there is scarcely a person so devoid of genius as to fail of success if he applies himself earnestly to one branch of study and practices it continually.
The New York action painters want their pictures to jump off the walls and chase you down the street.
Pure souls, didn’t I tell you not to be seduced by this colorful world for I am the Ultimate Painter.
The organizer who creates roles, who creates the holes that will force the pegs to their shape, is a prime creator of personality itself. When we ask of a man, "What is he?" the answer is usually given in terms of his major role, job, or position in society; he is the place that he fills, a painter, a priest, a politician, a criminal.
Every man is the painter and the sculptor of his own life.
A painter who has the feel of breasts and buttocks is saved.
I am a good horse to travel, but not from choice a roadster. The landscape-painter uses the figures of men to mark a road. He would not make that use of my figure.
Every other species of talent carries with it its eternity; we enjoy the work of the poet, the painter, the sculptor, only as thousands will do after us; but the actor - his memory is with his generation, and that passes away.
I'm a simple man, and I use simple materials.
Emile Saint-Blague had been a lively, versatile painter in his youth, but he had abused his energy by painting too many pictures; so that in what might have been the ripe period of his art he had nothing left but ideas. A man who has nothing left but ideas may be of great service to his friends, but he is of no use at all to himself. Emile was certainly an inspiration to his friends.
that's exactly what climbing is to me. ... Expression. What a painter does on a canvas, what a writer can do with the twenty-six letters in the alphabet. It's the key that unlocks my spirit, the clearest representation of who I am. When I'm focused, climbing is almost an unconscious act for me. I don't have to drive myself, I'm already driven.
... too many young painters of the day work for the crowd, and not for art. But, then, should not the painters of the day work for the education of the crowd?
My faith is that I don't believe in fate! We are not puppets or zombies of destiny. We are the main painters of our life's canvas.
I am convinced that each work of art, be it a great work of genius or something very small, has its own life, and it will come to the artist, the composer or the writer or the painter, and say, "Here I am: compose me; or write me; or paint me"; and the job of the artist is to serve the work.
I've always worn a hat when I work. I think it also comes from a picture of Rothko I saw with a painter's hat on.
A lot of young painters love to incorporate celebrity. One idea of being a painter is to use what's happening at the time. Velázquez was painting of his time. And so was Rembrandt. And Francis Bacon was painting his time in London. He was a real mover, but he saw the insect in the rose. But yes, when I do a painting, I want to take the "I did this" out of it. That's why I started using chance, like the markings on the wood. I never wanted to compose.
Painters should shut up and paint and when we stop painting we should dance or have sex or get a massage or take a shower and we shouldn't be talking about painting.
That was an important development for me, just realizing that you need to follow your pleasure, at least as a painter. I think any kind of artist needs to, no matter what you're doing.
I don't believe in having to show anybody anything. I just do my work. You know, making a living as an actor is such a rarity on earth. It's like making a living as a painter. So I look at different opportunities in the same way as Jack Nicholson, who said once, "Keep popping up in different holes. That's what you want to do: Just keep popping up in different holes." That made a lot of sense to me.
I don’t trust painting. At least not in New York. Most painting here relies on formula and repetition, whoring itself to the market. There seems to be no risk and once a painter gets a strategy, very little exploration. As a result, I stopped thinking about painting a long time ago. I prefer forms of art that are more market-resistant, more idea-based, more - for lack of a better word - risky.
Everything creative is somewhat collaborative. If you're a painter and someone stretches your canvas, it was collaborative on some level. Ultimately I'm the writer for me, but also anytime one of my friends gets stuck with a bit, they can call me and I'm pretty good at helping them get there. I think we all work together on some level, but for the most part, we're on our own.
Painters and poets are obliged to exaggerate the proportions of their figures in order to give true perspective.
I always think of myself not so much as a painter but as a medium for accident and chance.
One of the biggest changes that ever occurred in my life was going from the isolation of working part-time as a house painter in Henderson County, to Cornell, where everybody was a literary person.
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