If I had been around when Rubens was painting, I would have been revered as a fabulous model. Kate Moss? Well, she would have been the paintbrush.
A Gustave Courbet portrait of a trout has more death in it than Rubens could get in a whole Crucifixion.
We know from Talmadge Hayer, one of the men who carried out the assassination, who was shot by Ruben X as he tried to flee the Audubon after shooting Malcolm X, we know that Hayer confessed years later to his Imam in prison that there had been a walk-through a week prior to February 21st [1965] at the Audubon Ballroom.
My studio practice is a - I suppose a bit more like [Thomas] Gainsborough or [Peter Paul] Rubens in the sense that any artist who wants to create a grand narrative on a grand scale has to sort of parse out some of the smaller aspects of painting or the more mundane aspects of painting to others.
I work with a trainer called Ruben Tabares. He's a nutritionist, strength and conditioning coach, and an athlete. So I literally just train like an athlete.
Whether you think you like Rubens or not, his influence runs through the pathways of painting. Like Warhol, he changed the game of art.
But why I cry out against Rubens is because he painted undressed people instead of naked ones.
If I were alive in Rubens's time, I'd be celebrated as a model. Kate Moss would be used as a paint brush.
I read somewhere that Rubens said students should not draw from life, but draw from all the great classic casts. Then you really get the measure of them, you really know what to do. And then, put in your own dimples. Isn't that marvelous!
For popular purposes, at least, the aim of literary artists should be similar to that of Rubens in his landscapes, of which, without neglecting the minor traits or finishing, he was chiefly solicitous to present the leading effect, or what we may call the inspiration.
I just want everyone to know I'm suing Ruben Studdard. He had his hand on my ass and he wouldn't let go.
For - to say a few words on technique - whereas the curved line was used predominantly for reasons of beauty, (Phidias, Michelangelo, Raphael, Rubens) it has been used more and more economically for reasons of truth (Millet, Monet, Paul Cézanne) until it will end as the straight line for reasons of Love. This will enable the art of the future to create an international form; a form understandable to all and vital enough to the expression of a general feeling of love in a monumental way. Such is the future.
On the left is the realist tradition of the 19th century, with its impulse to social description, radical criticism and meditation on things as they are... culminating in Courbet at his mightiest (The Studio, The Funeral at Ornans and a portrait of a trout that has more death in it than Rubens could get in a whole Crucifixion).
I recommend that you should work actively... and study the artistic structures of Rubens, Rembrandt, Titian, Watteau, Poussin, and other painters, even Chardin, where he is an artist. Study very closely their dabbing manner of execution and try to copy a small piece of canvas, just one square inch.
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.
To my eye Rubens' colouring is most contemptible. His shadows are a filthy brown somewhat the colour of excrement.
I don't disagree with seeing a Rubens of a nude body, but I don't believe in a nude body in action. With Rubens, thank goodness, they aren't in action.
Ruben V is the keeper of the flame of the San Antonio vibe
I've never had any health problems and I'm Ruben, man, all the way through.
Now ballads, I can mess around and get up on somebody on a ballad. People ain't seen it yet, but I can mess around and get up in there. I've had Ruben Studdard up in my house, Brian McKnight, Tank. Every once in a while I throw down with them.
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