I'm not a film-school guy. I was a high-school dropout. I was on a nuclear submarine. I was an electrician. I was a house painter. So if you get in my face, I'm going to fight you.
You can't say I'm going to become a painter in the same way you say I'm going to become a dentist. Or maybe you can nowadays. But it's an endeavor.
I was born in Suzhou, a city not very far from Shanghai. It's a very interesting town - there is a long artist's tradition there, especially during the Ming and Ching dynasties, which produced many, many scholars and painters and so forth. That's where my family lived for 600, 700 years.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting. Like finding some imaginary computer painter, or a robot who paints.
The ability to name poetry's gestures and rhetorics isn't required to write or read them, any more than a painter needs to know the physics of color to bring forward a landscape. The eye and hand and ear know what they need to know. Some of us want to know more, because knowing pleases.
Before I got glasses, I thought Monet was the world's only realist landscape painter.
For me there are no rules. I think I learned that from artists-from painters and sculptors. It took photography a while to catch up to them.
To become a painter or a sculptor or a graphic designer is quite an isolated way to spend your life.
I am primarily an oil painter and a studio painter, so originally I was going to do an oil painting.
Norwich is a fine city. None finer. If there is another city in the United Kingdom with a school of painters named after it, a matchless modern art gallery, a university with a reputation for literary excellence which can boast Booker Prize-winning alumni, one of the grandest Romanesque cathedrals in the world, and an extraordinary new state-of-the-art library then I have yet to hear of it.
The colors and creativity of our painters attracted me, but I remember that I was shocked by the lack of proportion.
Only the human figure exists; landscape is, and should be, no more than an accessory; the painter exclusively of landscape is nothing but a bore.
The painters have no copyright on modern art!... I believe in, and make no apologies for, photography: it is the most important graphic medium of our day. It does not have to be, indeed cannot be - compared to painting - it has different means and aims.
Modern Art is being used to index me. Surely it was a source but photographers have influenced Modern Art quite as deeply as they have been influenced, maybe more. Anyway painters don't have a copyright on M. A. We were all born in the same upheaval.
It's no easy matter to paint a background. I venture to say that the old painters had more difficulty with their grounds than with their figures. You know the story of Vandyke brought to Rubens with this recommendation: 'He already knows how to paint a background.' 'That is more than I can do!' was the reply.
Speaking, when you have something to say, is like looking. But who looks? If people could see properly, and see whole, they would all be painters. And it's because people have no idea how to look that they hardly ever understand.
You can't learn techniques and then try to become a painter. Techniques are a result.
A moment of complete happiness never occurs in the creation of a work of art. The promise of it is felt in the act of creation but disappears towards the completion of the work. For it is then the painter realises that it is only a picture he is painting. Until then he had almost dared to hope the picture might spring to life.
If all the qualities which a painter took from the model for his picture were really taken, no person could be painted twice.
The things I felt... about certain painters of the past that... inspired me, like Cezanne and Manet... that complete losing of oneself in the work to such an extent that the work itself... felt as if a living organism was posited there on the canvas, on this surface... That's truly... the act of creation.
I have no wish to be remembered as a painter, for I never was a painter; my idea of that profession was perhaps too exalted; I may say, is too exalted. I leave it to others more worthy to fill the niches of art.
I started out to be a painter and was born into the theater.
The great paintings are the ones with the most subtle value relationships. The closer you could bring your values and still distinguish between them, the stronger you were as a painter.
Philosophers and aestheticians may offer elegant and profound definitions of art and beauty, but for the painter they are all summed up in the phrase: To create a harmony.
The chief consideration for a good painter is to think out the whole of his picture, to have it in his head as a whole... so that he may then execute it with warmth and as if the entire thing were done at the same time.
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