Paintings, like dreams, have a life of their own and I have always painted very much the way I dream.
A painter's hand has a thirst for thieving, it steals from heaven and makes a gift to the memories of men, it feigns eternity and it delights in this pretence almost as if it had created rules of its own, more durable and more profoundly true.
Like many musicians, I can hear the weight in the sound. Sound is matter. We speak of the colour of an instrument, of transparency... We can demand more sombre or lighter colours, deeper playing and singing, heavier or lighter sound. And manipulating those means is like creating a painting.
There's a spectrum of possibilities. You can underline the bass, or not at all. You can create something that is well-anchored or that is floating and never arriving. You can make a melodic line dominant or barely visible. The conducting gesture is akin to painting or sculpture.
I can always paint very well with my eyes, but with my hands it doesn't always work out.
A piece of art - this goes for a painting or a sculpture or a book or whatever - really shouldn't have to do with the set of expectations that the viewer or the audience or the reader brings to that work. It should just have to do with how they interpret it and whether they like it or not.
It's not fiction's job to be photographically representative of reality. If I want to make a fictional world where there's no kindness, this doesn't mean I believe there's no kindness in the real world. In fact, what it may mean is that I very much value kindness. Like if you make a painting in which only greens are allowed, it wouldn't mean you don't believe in blue.
The percentage of Indian kids doing some sort of artistic work is much higher than in the general population - painting, drawing, dancing, singing. The creation of art is still an everyday part of Indian culture, unlike the dominant culture, where art is sort of peripheral.
Who would be an artist that was perfectly happy? Maybe nowadays, but when I grew up in the '60s, you had nobody in the art club who was popular. No cheerleaders in the art club. I was told that I couldn't be a painter by my first painting teacher. I said I wanted to go to Cooper and be an art student, and he said, "You'll be a waitress." It was really the strangely indifferent parenting.
Ninety per cent of the theory of Impressionist painting is in . . . Ruskin's Elements.
Sculpture and painting are moments of life; poetry is life itself.
No academy could have given me all I discovered by getting my teeth into the exhibitions, the shop windows, and the museums of Paris . Beginning with the market - where, for lack of money, I bought only a piece of a long cucumber - the workman in his blue overall, the most ardent followers of Cubism , everything showed a definite feeling for proportion, clarity, an accurate sense of form, of a more painterly kind of painting, even in the canvases of second-rate artists.
I prefer you to take as your model a mediocre sculpture rather than an excellent painting, for from painted objects we train our hand only to make a likeness, whereas from sculptures we learn to represent both likeness and correct incidence of light.
Photography is unlike any other art form. In the other arts there is always a continuous interplay between the artist and his art. He has the painting or sculpture before him. What we have tried to do is to provide a medium for "artistic expression" to anyone with only a reasonable amount of time. By giving him a camera system with which he need only control his selection of focus, composition and lighting, we free him to select the moment and to criticize immediately what he has done. We enable him to see what else he wants to do on the basis of what he has just learned.
Another thing that you really do when you play, that you're supposed to do, is colors. You know, you cannot play with one color. If you play with one color, again, it's like watching a beautiful painting, a drawing, but it's all in blue or it's all in red. May be very nice, but not very interesting.
When I was younger, I wanted to own a circus and create this bizarre revue that went from town to town. And, I was interested in set design and doing theater. And then, I was painting for a while. It was all circling around creating an intense experience for an audience of one, or an audience of many.
As an actor, you're a color of paint on someone else's palette. But as a director, it's your canvas and you make the painting you want to make.
Sometimes it is best to burn paintings that just don't burn.
My career doesn't depend on painting Bill Clinton.
The Painter's Keys is a timeless, universal guide to lifemanship masquerading as a painting blog.
Half of the pleasure of painting and feeling the joy of the creative act is sharing it with others and the feeling of connection. It could just be the colour. But it is something that someone other than you has seen and felt. It is momentous. It is magic.
In painting as in eloquence, the greater your strength, the quieter your manner.
Make a small painting of what you want to do... and project it up on a white wall... The enlarged version is so changed that there is no way of just visualizing it in the brain... It's a whole new dimension in painting.
I was painting her portrait in the little studio, and when I came to the eyes I stopped, overcome by emotion, and said to her, 'Have you understood me?' She nodded affirmatively. 'Will you be my wife?' I asked. She made the same affirmative sign.
If you really want to seriously think about life, and therefore take painting very seriously... and take seriously the joys that it can bring to one, then you want to go to museums. You want to study the great of the past.
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