Quotes About Painting

Hans then asked him about painting from nature; Jackson...bluntly offered a phrase that entered Village lore, "I am nature.

This is a painting that is at best one-third "I love religion so I'm gonna paint my favorite religious figures enjoying a meal" and at least two-thirds "Bro, my vanishing point is off the hook, seriously, check out my wall rectangles, you don't even know.

Real painters grunt like Marlon Brando

One of the problems with technology is that no photograph, as superb and outstanding as it may be, will ever be as satisfying as the most middle-rate painting.

I was a student at Harvard, and that's where I learned about so-called avant-garde music. Jackson Pollock, abstract expressionism and painting were well known at this time.

The dance is the mother of the arts. Music and poetry exist in time; painting and architecture in space. But the dance lives at once in time and space.

I saw the industrial scene and I was affected by it. I tried to paint it all the time. I tried to paint the industrial scene as best I could. It wasn't easy.

Painting is the act of discovery and you're constantly enlarging your horizon or finding yourself every time you paint.

I wanted to paint pictures of people. I thought, "Why bother doing anything else. Everything else is a waste of time. I want to tell stories about people and their feelings and emotions."

If I had a musical identity that was definable then it would be time to get into painting or something else. Race car driving.

I wish I felt energetic and could paint all the time, because there are so many paintings I'd like to do.

You have made me ashamed of the wasted years. You have made me acknowledge that no darkness has ever been deep enough to extinguish my personal knowledge of love. And all around me in this world I see evidence of love. I see love. I see it in the human struggle. I see its undeniable penetration in all that humans have accomplished in their poetry, their painting, their music, their love of one another and refusal to accept suffering as their lot.

I see love. I see it in the human struggle. I see its undeniable penetration in all that humans have accomplished in their poetry, their painting, their music, their love of one another and refusal to accept suffering as their lot.

There are gaps in my education which no one could ever fill. But, they don't matter to me. I do not need to know science or algebra or geometry. Literature and music, painting and history-these are my passions. These are things that still, somehow in hours of quiet and lonesomeness, keep me alive.

It was the spacious garden I loved to paint above all, with no painted frame to set it apart from our world with its dancing figures and bending laurels. It was the familiar garden. For I imagined I could escape into it with my mind.

I had never seen anything as beautiful as this painting, with its immense crowd of still attentive faces, its splendid collection of angels and saints, its lithe and graceful feline women and willowy celestial men. I went crazy for it.

He heard Julien's voice, with the fancy French accent illuminating the letters, just as surely as the old monks had illuminated letters when they painted them bright red or gold and decorated them with tiny figures and leaves.

I wanted nights to memorize this painting. I wanted at once to listen at the portals of scholars who could tell me what it was about, for I couldn't possibly decipher it! I need knowledge for this. And more than anything, its sheer beauty spoke to my soul.

Good was above all kind; it was to be gentle. It was to waste nothing. It was to paint, to read, to study, to listen, even to pray, though to whom I prayed I wasn't sure, and it was to take every opportunity to be generous to those mortals whom I did not kill.

The hall they entered had arched ceilings over twenty feet high that were painted in tromp l'oeil, basically a bunch of butt-naked baby angels pointing at each other.' (Carlos)

When Michelangelo finished the painting of the Sistine Chapel's ceiling, he spent the rest of his life trying to remove the paint that had poured into his sleeve.

We need to understand that there is a process of learning and experience and success will stem from this. The painting represents life and the brushstroke represents the steps we take in life.

I have been surrounded by artists and paintings throughout my life. My father Ted Dyer is an artist, and from a very early age I have spent time painting and drawing.

I have been painting white people for much longer in my life than I have done for colored people.