Quotes About Painting

Tijd heeft geen betekenis op een schilderij. Als het goed is tenminste.' 'En op foto's?' vroeg Vogels. 'De meeste foto's hebben een rouwrand. Heden overleed. Een goed schilderij is net als een stem op een band. Altijd nu, in het heden. Maar wat lul ik, ik fotografeer nauwelijks nog.

The surrealists, and the modern movement in painting as a whole, seemed to offer a key to the strange postwar world with its threat of nuclear war. The dislocations and ambiguities, in cubism and abstract art as well as the surrealists, reminded me of my childhood in Shanghai.

Rorschach knew Binet's work and was familiar with Binet's own inspiration—Leonardo da Vinci, who in his "Treatise on Painting" described throwing paint at a wall and looking at the stains for inspiration.

I love butterflies," Andrea said. "I'm going to finger paint a picture of a happy family of butterflies." "I'm going to finger paint a picture of a tree in a forest where your butterflies can live," said Emily. "I'm going to finger paint a picture of a tree falling in a forest and crushing a family of happy butterflies until they are dead," I said.

The second issue this picture raises is the idea of the patron – the painting has two titles: one describes the subject matter, the other refers to the family who commissioned it.

The close relationship between the patron and the painting might lead us to question what this image was for.

Secondly, the decorative effect of Gentile's painting as a whole adds much to the luxurious feel of the picture. If you look at it quickly, the background, foreground, and all the figures seem to form a rich pattern across the picture rather like a woven

The pattern-like quality of the picture surface, together with the opulent materials and the flatness of the image (there are no illusions of space or depth in this painting), are all characteristics of a mode of painting known as International Gothic.

In this painting the artist has become more dominant than his subjects

This is the Mona Lisa of bad diners.

I'm interested in the space between the viewer and the surface of the painting - the forms and the way they work in their surroundings. I'm interested in how they react to a room.

I was inspired by many teachers when I started my channel, Bob Ross being one of them. His voice was so soothing, almost like hypnosis. He was that great of a teacher, even the casual viewer could learn how to paint from watching his show. Growing up, I just remember him being so mesmerizing on screen.

I still take photographs for my own use, personal studies. I do not feel that I can fully express my views through the medium and this is why I have moved towards painting.

The growth of art seems to be in cycles, and often its vigorous lifetime is restricted to a century or two. The periods of distinctive drama, Greek, English, Spanish, fall within such a limit; the schools of painting and sculpture likewise; and, in poetry, the Victorian age or the school of Pope will serve as examples.

I went to an art school in Brooklyn and painted Fine Art, if that's what you'd call it for eight years in New York, until I saw the first underground comics in the East Village Other.

After tea it's back to painting - a large poplar at dusk with a gathering storm. From time to time instead of this evening painting session I go bowling in one of the neighbouring villages, but not very often.

My room is dominated by the huge painting, which is a copy of 'The Violation' by the Belgian surrealist Paul Delvaux. The original was destroyed during the Blitz in 1940, and I commissioned an artist I know, Brigid Marlin, to make a copy from a photograph. I never stop looking at this painting and its mysterious and beautiful women.

The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.

It really is a day job, and it also seems to have virtually disappeared-with no remorse, really. It gives me more time to paint.

Egon Schiele is my favorite painter. There's just something about art - photography, painting, music, plays - whatever you see, sometimes there's a gut reaction that's more important or more visceral than what your brain is thinking about. You can't explain that reaction. It's like what happens when you fall in love.

The Paston Treasure.

Did they go back to curse them?" asked Olivier. "Non," said Ruth. "To forgive them. That was the magic." The wizened Anne Lamarque in Clara's painting was smiling. Happy and free.

Don't you see the inevitability of this moment? I mean we're talking serious process here, man. The perfect critic stepping forth from the demimonde of the war and blowing the heart of the painting to rubble, and then turning his weapon on the man whose actions have been the pure contrary of the work's formal imperative.' 'I'm outta film,' said the mestizo cameraman.

I should have known when I first saw that picture. For it is a very remarkable picture. It is the picture of a murderess painted by her victim-it is the picture of a girl watching her lover dies.