Nothing is so improving to the temper as the study of the beauties either of poetry, eloquence, music, or painting.
One of the marks of true genius is a quality of abundance. A rich, rollicking abundance, enough to give indigestion to ordinary people. Great artists turn it out in rolls, in swatches. They cover whole ceilings with paintings, they chip out a mountainside in stone, they write not one novel but a shelf full. It follows that some of their work is better than other. As much as a third of it may be pretty bad. Shall we say this unevenness is the mark of their humanity - of their proud mortality as well as of their immortality?
I can always paint very well with my eyes, but with my hands it doesn't always work out.
Unlike music or poetry or painting, food rouses no response in passionate and emotional youth. Only when the surge of the blood is quieted does gastronomy come into its own with philosophy and theology and the sterner delights of the mind.
Sometimes I could quit paint and take to charring. It must be fine to clean perfectly, to shine and polish and know that it could not be done better. In painting that never occurs.
What a conception of art must those theorists have who exclude portraits from the proper province of the fine arts! It is exactly as if we denied that to be poetry in which the poet celebrates the woman he really loves. Portraiture is the basis and the touchstone of historic painting.
(Canada) - the most parochial nationette on earth ... I have been living in this sanctimonious icebox ... painting portraits of the opulent Methodists of Toronto. Methodism and money in this city have produced a sort of hell of dullness.
Painting is so difficult that I would give it up if it were not so enjoyable.
Painting is my vehicle of transit. I don't always know where I am going or what it means.
The ephemeral nature of live performance is the part I love most - it's a monk's sand painting, carefully constructed, then wiped away in an instant.
I have never expected anything from my work but the satisfaction I could get from it by the very fact of painting and saying what I couldn't say otherwise.
There are pictures by Titian so steeped in golden splendors, that they look as if they would light up a dark room like a solar lamp.
The drama embraces and applies all the beauties and decorations of poetry. The sister arts attend and adorn it. Painting, architecture, and music are her handmaids. The costliest lights of a people's intellect burn at her show. All ages welcome her.
I get inspiration from things that have nothing to do with painting: caricature, items from newspapers, sights in the street, proverbs, nursery-rhymes, children's games and songs, nightmares, desires, terrors. ... That question [why do you paint?] has been put to me before and my answer was, 'To give terror a face.' But it's more than that. I paint because I can't help it.
If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.
Used to be, conservatives revered the Average American, that Norman Rockwell oil painting of diner food, humble faith, honest toil, and Capraesque virtue.
If it hurt me to have to give up a painting I figured it had to hurt them to write the check. That's how I came up with the price for my work.
When we look at a painting, listen to a piece of music, read a novel, or watch a movie we are taking in the artist's composition. The composition is the totality of the work.
All art is probably erotic in its ultimate character, but painting more than anything else is a purely nervous erotic activity.
Art, if it is successful in the task of questioning reality, if it is good painting and not merely a performance of dexterity, will be an affirmation of God.
Most artists never get a chance to be Picasso, but that doesn't mean you would stop 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.
Everybody's creative. We create our songs and our paintings, our families and our children. Every one of us is on the cutting edge of the future.
It's like painting the same blank canvas over and over and over and over and over. Once the concept is known, you don't need to see two. And that was in the back of my head, that I was really done artistically with what I had created or pastiched.
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.
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