Quotes About Painting

I like films that probe emotional questions and inspire you to get creative and get writing, get draping, painting, cooking, whatever that thing is where you have that kind of output.

My husband and I went to Japan for our honeymoon, and you look at, like, the presentation of the food, and it's ridiculous. It looks like a Mondrian painting or something. Everything looks like a bunch of little Hello Kitty erasers when you eat a little bento box in Japan. It's so precise and beautiful and processed and neat.

The little may contrast with the great, in painting, but cannot be said to be contrary to it. Oppositions of colors contrast; but there are also colors contrary to each other, that is, which produce an ill effect because they shock the eye when brought very near it.

I think a lot of times our culture has an attitude toward art and the production of art that separates artists from the rest of us, like making art or music or painting or whatever is some magical thing that you have to be inspired to do, and special people do it.

Painting is such an individual profession. I'm not performing. There's no audience.

Yes, I'm very expressive with my painting.

Technically, a makeup artist's canvas is the face and body. The difference is that my painting of makeup is integrated into the painting of the flesh and not on top of it. I think in some ways it is more difficult to expressively deploy makeup.

I started doing sculpture rather than painting. I was halfway through my degree, and I hadn't really done any introduction courses in sculpture... I'd missed all the technical stuff. I didn't really know how to weld or forge or carve or model. I'd sort of evaded all those technique classes, so I had no technique.

The actual technique, the process of painting flat color and simple geometric edges, all dates from my time here on Coenties Slip.

I've always been a bit of a mix between art and technology. I used to paint a lot, but I'm not very good with my hands. It has always been a fusion between my computer gaming interests and being exposed to the rich data of society that we live in.

It's hard to get hot over a painting; there's no equivalent for teenage obsessiveness. Art obsession is ideology. Ideology can be made sexy, but it's easier in music.

As a teenager, I was really interested in drama and art. I did painting and drawing. I did some acting and loved theater.

Especially in the world today, where science rightfully is so important in terms of technology, innovation, telecom, Internet, fighting diseases, I think it's equally important that poetry and painting have their share of support.

Nature engenders the science of painting.

The object of painting a picture is-however unreasonable that may sound... The object which is back of every true work of art, is the attainment of state of being, a state of high functioning, a more than ordinary moment of existence. The picture is but a by-product of the state, a trace, the footprint of that state.

There was practically nothing on Catalan painting, though the world's greatest surviving body of Romanesque frescoes, salvaged from decaying churches in the Ampurdan and the Pyrenees, was (and is) right there in the Museu d'Art de Catalunya up on Montjuïc.

A fine work of art - music, dance, painting, story - has the power to silence the chatter in the mind and lift us to another place.

The painting also pinpointed an important quirk of Washington's face: the lazy right eye that slid off into the corner while the left eye stared straight ahead. To prepare for the equestrian

Its status is rather like that of a painting of a perfectly beautiful human being, i.e., it is only by virtue of the painter's painting; more precisely, the just city is only "in speech": it "is" only by virtue of having been figured out with a view to justice itself or to what is by nature right on the one hand and the human all-too-human on the other.

How may paintings have preserved the image of a divine beauty which in its natural manifestation has been rapidly overtaken by time or death. Thus, the work of the painter is nobler than that of nature, its mistress.

The painter will produce pictures of little merit if he takes the works of others as his standard: but if he will apply himself to learn from the objects of nature he will produce good results. This we see was the case with the painters who came after the time of the Romans, for they continually imitated each other, and from age to age their art steadily declined.

It was the opinion of Leonardo that the temporary nature of music caused its inferiority to painting. Although durability was in itself no absolute test,—else the work of coppersmiths would be the highest art,—yet in any final scale, permanence could not altogether be disregarded. Music perished in the very act of its creation, while painting preserved the beautiful from the hand of time.

Mathematics, such as appertain to painting, are necessary to the painter, also the absence of companions who are alien to his studies: his brain must be versatile and susceptible to the variety of objects which it encounters, and free from distracting cares.

What happens if your choice is misguided?' I ask, softly. Miss Moore takes a pear from the bowl and offers us the grapes to devour. 'You must try to correct it.' 'But what if it's too late? What if you can't?' There's a sad sympathy in Miss Moore's catlike eyes as she regards my painting again. She paints the thinnest sliver of shadow along the bottom of the apple, bringing it fully to life. 'Then you must find a way to live with it.