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Modern art is what happens when painters stop looking at girls and persuade themselves that they have a better idea.
Painters hate having to explain what their work is about. They always say, 'It's whatever you want it to be' - because I think that's their intention, to connect with each person's subconscious, and not to try and dictate.
Playwrights have texts, composers have scores, painters and sculptors have the residue of those activities, and dance is traditionally an ephemeral, effervescent, here-today-gone-tomorrow kind of thing.
It is this research into pure painting that is the problem at the present moment. I do not know any painters in Paris who are really searching for this ideal world.
I think that most people think painters are kind of ridiculous, you know?
I should like to present myself to the young painters of the year 2000 with the wings of a butterfly.
I always thought that one of the reasons why a painter likes especially to have other painters look at his or her work is the shared experience of having pushed paint around.
I take this art very seriously and passionately. I love what I do. You can't help but grow. That's not to say you don't make mistakes or make bad choices, but that's part of the art. Painters paint bad paintings.
I like all those painters who loved and had a strong feeling for nature.
Youth must go ahead and prosper. These young painters are all very talented people, but they all paint frescoes.
When I was about seven, one or two people encouraged me, and art became an enormous and important refuge. By adolescence, I was absolutely passionate about it and felt those paintings and those painters, whether they lived a few hundred years ago or were still alive, were somehow my companions.
When I'm dead, I wanna leave a body of work, like authors or great painters do. I don't wanna get ideas above my station, but why shouldn't this be comparable? Pop music was supposed to be a flash in the pan, but here we are 50 years later, and it means something to us, and it always will do. It's incredibly important.
I was influenced by Ray Harryhausen and Lotte Reiniger, with her twitchy, cutout animation, which I happened to see at a very young age, but also by the Warner Bros. cartoons, 'Tom and Jerry,' and of course Disney. And also by Fellini's 'Giulietta of the Spirits' and Kurosawa's 'Ran.' And by other American illustrators and painters.
In chess, computers show that what we call 'strategy' is reducible to tactics, ultimately. It only looks creative to us. They are still just glorified cash registers. This should make us feel uncomfortable, whether or not we think computers will ever be good composers of music or artistic painters.
Filmmakers are going to make films, just like painters are going to paint.
Now almost every artist outside of New York is connected with some school or some museum school, and even in New York the majority are. That's an interesting fact when you take the idea of making money, making a living selling paintings. Only a dozen or two painters do that.
It's a marvellous life, a gregarious life that we've had. We're very lucky in that way. Unlike writers or painters, we don't sit down in front of a blank canvas and say, 'How do I start? Where do I start?'
San Francisco has long been a leader in the arts, nurturing generations of painters, sculptors, poets, novelists, playwrights, film-makers, and performing artists and innovators of every kind.
The cult of individuality and personality, which promotes painters and poets only to promote itself, is really a business. The greater the 'genius' of the personage, the greater the profit.
I make movies just as painters paint: I work where I can.
Painters, especially American painters since the Second World War, have been much more troubled, beset by formal perplexity, than American writers. They've been a laboratory for everybody.
Painters were also attorneys, happy storytellers of anecdote, psychologists, botanists, zoologists, archaeologists, engineers, but there were no creative painters.
Real painters understand with a brush in their hand.
When I was painting in art school - and I think many painters in the 1980s worked similarly - a finished painting would often be constructed from lots of other paintings underneath. Some of these individual layers of painting were better than others, but that was something that you would often only realise retrospectively.
Some people are painters, and some are ballet dancers, and I'm a writer.
C. S. Lewis
John F. Kennedy
Image of the Moment
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