Now I'm a painter. That was another opportunity I was able to pursue, I've been painting all my life, now it's become a second career because of my success in the movies.
Dali was the great painter then and surrealism was a way of life.
Painters get up and paint. Writers get up and write. I like to get up and act. It's not a big deal. It makes me happy.
It's useful to know how much society's holding you back. My mother would talk about how she was told by the head of her art school that she was the best painter, but that she wouldn't get the biggest prize because she would waste her talent by having children. I think we have to get honest with girls about how they can expect the world to block them, and we have to prepare girls, and ourselves, to break through those blocks.
I have seen no men in life loving their profession so much as painters, except, perhaps, actors, who, when not engaged themselves, always go to the play.
Virtue is as little to be acquired by learning as genius; nay, the idea is barren, and is only to be employed as an instrument, in the same way as genius in respect to art. It would be as foolish to expect that our moral and ethical systems would turn out virtuous, noble, and holy beings, as that our aesthetic systems would produce poets, painters, and musicians.
Many young painters would never have taken their pencils in hand if they could have felt, known, and understood, early enough, what really produced a master like Raphael.
Painters work from the ground up. The latest version of a painting overlays earlier versions, and obliterates them. Writers, on the other hand, work from left to right. The discardable chapters are on the left.
There were moments of despondency when Shakespeare thought himself no poet, and Raphael no painter; when the greatest wits have doubted the excellence of their happiest efforts.
A life lived in chaos is an impossibility for the artist. No matter how unstructured may seem the painter's garret in Paris or the poet's pad in Greenwich Village, the artist must have some kind of order or he will proudce a very small body of work. To create a work of art, great or small, is work, hard work, and work requires discipline and order.
What caricature is in painting, burlesque is in writing; and in the same manner the comic writer and painter correlate to each other; as in the former, the painter seems to have the advantage, so it is in the latter infinitely on the side of the writer. For the monstrous is much easier to paint than describe, and the ridiculous to describe than paint.
The beauty of the picture is an abiding concrete of the painter's vision.
As in the case of painters, who have undertaken to give us a beautiful and graceful figure, which may have some slight blemishes, we do not wish then to pass over such blemishes altogether, nor yet to mark them too prominently. The one would spoil the beauty, and the other destroy the likeness of the picture.
The names of great painters are like passing-bells: in the name of Velasquez you hear sounded the fall of Spain; .in the name of Titian, that of Venice; in the name of Leonardo, that of Milan; in the name of Raphael, that of Rome. And there is profound justice in this, for in proportion to the nobleness of the power is the guilt of its use for purposes vain or vile; and hitherto the greater the art, the more surely has it been used, and used solely, for the decoration of pride or the provoking of sensuality.
Writers and painters have a medium that can foster self-effacements. Actors haven't. An actor can't hide himself behind paper or canvas. If you're not there your art's not there. That's why we actors are often such self-centered objects.
He who cannot see the beautiful side is a bad painter, a bad friend, a bad lover; he cannot lift his mind and his heart so high as goodness.
I think perhaps I've learned to be myself. I have a theory that all artists who would be important - painters and writers - must learn to be themselves. It takes a very long time.
The concealment of art by the actor is as great a mark of genius as it is in the painter.
A painter paints, a musician plays, a writer writes - but a movie actor waits.
The thinker requires exactly the same light as the painter, clear, without direct sunshine, or blinding reflection, and, where possible, from above.
What has made it work, or what makes certain paintings successful or not, has to do with my being a painter and a thinking, feeling person, more than my sex, color, height, origin.
These days there are painters that go inside a factory in order to be inspired by the noise of machines, so that it affects their works. Of course, artists need sensibility; sensibility towards their environment and their community, but when they are stirred enough by their experiences in their society they can create their art in small studios.
I am biased towards the belief that every painter must be grounded in strong and faultless drawing skills, and until one has not experimented with all styles of painting and has not comprehended their potentialities one's work is not complete. Even an abstract painter must know how to draw as well as a figurative artist. As for me, drawing has never created any problem, since I know how to draw anatomy correctly if I had to, I understand the function of muscle groups and sculpture.
The 'Cercle et Carré' group owes its existence to my encounter with the Uruguayan painter Torrès-Gracia in 1929... However difficult our relationship, his obstinacy matching my patience, this unholy team of fire and water was bound to produce something. Towards the end of the year, after consulting sundry artists, including Arp, Mondrian, and Van Doesburg, we drew up the program for a new group and launched a magazine which was be called 'Cercle et Carré'.
The painter celebrates life where he finds it. His morality is the morality of enjoyment, of the continuous development of his own taste without shame or fear. It is a sort of heroism.
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