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I liked drawing and painting, because the only failure would be to listen to the doubters who wanted me to stop drawing and painting because 'you aren't going to make a living doing that.' I liked looking in art books at the work of painters.
People think because it's photography it's not worth as much, and because it's a woman artist, you're still not getting as much - there's still definitely that happening. I'm still really competitive when it comes to, I guess, the male painters and male artists. I still think that's really unfair.
Everyone in my family is an artist. Both my parents are painters and my mom's an opera singer. I was never shown any other way to process life.
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.
Unfortunately, we are not painters and authors, where we can do something in isolation. We require a lot of money to create what we create. It's almost like being an architect: You can't be an architect and build whatever buildings you want to.
Most painters want recognition, especially by their peers.
Painters have always needed a sort of veil upon which they can focus their attention. It's as though the more fully the consciousness is absorbed, the greater the freedom of the spirit behind.
The history of American art, in a way, begins with Jackson Pollock and his big paintings. This theme of bigness - all painters and sculptors have dealt with it ever since.
The Berlin of the '20s formed the foundation of my future education... the Berlin of the UFA studios, of Fritz Lang, Lubitsch and Erich Pommer. The Berlin of the architects Gropius, Mendelsohn and Mies van der Rohe. The Berlin of the painters Max Libermann, Grosz, Otto Dix, Klee and Kandinsky.
There are, of course, always painters whom I admire and find fascinating. I've often thought, 'Goodness, if I could paint like the Danish Golden Age painters, the early 19th century painters, the way they could paint a landscape - absolutely beautiful.'
Margrethe II of Denmark
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.
Painters of paintings, writers of books, never could tell the half.
I paint German artists whom I admire. I paint their pictures, their work as painters, and their portraits too. But oddly enough, each of these portraits ends up as a picture of a woman with blonde hair. I myself have never been able to work out why this happens.
Real painters understand with a brush in their hand.
I am into drones and one chord freak outs and the paintings I am into are more minimal things the New York colour field painters and the soviet schools of the early/mid 20th century suprematism and constructionism.
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.
I suppose I have become a sort of living monument in Portugal. But I come from a family with roots all over the world, so the idea of patriotism is not very strong in me. My country is the country of Chekhov, Beethoven, Velasquez - writers I like, painters and artists I admire.
Antonio Lobo Antunes
Painters were also attorneys, happy storytellers of anecdote, psychologists, botanists, zoologists, archaeologists, engineers, but there were no creative painters.
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