Quotes of All Topics . Occasions . Authors
So much of every art is an expression of the subconscious that it seems to me most of all the important qualities are put there unconsciously, and little of importance by the conscious intellect. But these are things for the psychologist to untangle.
It's to paint directly on the canvas without any funny business, as it were, and I use almost pure turpentine to start with, adding oil as I go along until the medium becomes pure oil. I use as little oil as I can possibly help, and that's my method.
One learns about painting by looking at and imitating other painters. I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting.
What's interesting about young black American artists within the twentieth century, and increasingly within the twenty-first as well, is that there's this expectation of a political corrective that demands that the artist fixes the ills of the world.
An artist who lacks the power of self-criticism accomplishes but little. It is good if your work stands higher than your own opinion of it; bad if it is on the same level. But it is a great disaster if your work stands lower than your judgment of it.
Since a three-dimensional object casts a two-dimensional shadow, we should be able to imagine the unknown four-dimensional object whose shadow we are. I for my part am fascinated by the search for a one-dimensional object that casts no shadow at all.
The unconscious in us warns us that in art we have to followoneparticular path. And if wefollow it, it isnotthe sign of anunconscious act.On the contrary, it showsthat there is in our ordinary consciousness a greater awareness of our unconsciousness.
We were very poor and my family lost everything during the war - our home and our identity. But I'm a believer in luck and think the social conditions you're born into provide the opportunity for you to prove your luck. And I suppose I've been lucky.
If one wants to be active, one must not be afraid of going wrong, one must not be afraid of making mistakes now and then. Many people think that they will become good just by doing no harm -- but that's a lie.... That way lies stagnation, mediocrity.
Spring is the fresh green of young corn and the pink blush of blossoms. Autumn contrasts the yellowed foilage with violet hues. Winter is the white of snow against its black forms ... Summer is the contrast of blues and the golden bronze of the corn.
But after all I find in my work an echo of what struck me. I see that nature has told me something, has spoken to me, and that I have put it down in shorthand. In my shorthand there may be words that cannot be deciphered. There may be mistakes or gap
It may be true that there is no God here, but there must be one not far off, and at such a moment one feels His presence; which comes to the same as saying (and I readily give this sincere profession of faith): I believe in God, and that it is His wi
It is said that my art has some typically Nordic features: the curving lines, the convolutions, the magical masks and staring eyes that appear in myths and folk art. This may be. My interest in the dynamics of Jugend style probably also comes into it.
There is - and always will be - the legacy of chattel slavery in this nation, an obsession with racial and gender differences, but I think that, at its best, this nation is capable of creating standards for itself and reaching towards those standards.
One has no right to love or hate anything if one has not acquired a thorough knowledge of its nature. Great love springs from great knowledge of the beloved object, and if you know it but little you will be able to love it only a little or not at all.
Things severed shall be united and shall acquire of themselves such virtue that they shall restore to men their lost memory: - That is the papyrus sheets, which are formed out of several strips and preserve the memory of the thoughts and deeds of men.
I haven't been in the Louvre for twenty years. It doesn't interest me because I have these doubts about the value of the judgments which decided that all these pictures should be presented to the Louvre instead of others which weren't even considered.
What is a face, really? Its own photo? Its make-up? Or is it a face as painted by such or such painter? That which is in front? Inside? Behind? And the rest? Doesn't everyone look at himself in his own particular way? Deformations simply do not exist.
I'm still learning about music. The best way to learn is to listen to the audience. When you listen to the audience, they will tell you what they like. I wish these big corporations, instead of telling the audience what they should have, would listen.
To the Young Artists of Italy! The cry of rebellion that we launch, linking our ideals with those of the Futurist poets, does not originate in an aesthetic clique. It expresses the violent desire that stirs in the veins of every creative artist today.
It will be readily admitted that brown tints have never coursed beneath our skin; it will be discovered that yellow shines forth in our flesh, that red blazes, and that green, blue and violet dance upon it with untold charms, voluptuous and caressing.
Close friends are truly life's treasures. Sometimes they know us better than we know ourselves. With gentle honesty, they are there to guide and support us, to share our laughter and our tears. Their presence reminds us that we are never really alone.
I often think of you all, one cannot do what one wants in life. The more you feel attached to a spot, the more ruthlessly you are compelled to leave it, but the memories remain, and one remembers - as in a looking glass, darkly - one's absent friends.
You will say that everyone has seen landscapes and figures from childhood on. The question is: Has everybody also been reflexive as a child? Has everybody who has seen them also loved heath, fields, meadows, woods, and the snow and the rain and the s.
No man, perhaps, is so wicked as to commit evil for its own sake. Evil is generally committed under the hope of some advantage the pursuit of virtue seldom obtains. Yet the most successful result of the most virtuous heroism is never without its alloy.
The craving for colour is a natural necessity just as for water and fire. Colour is a raw material indispensable to life. At every era of his existence and his history, the human being has associated colour with his joys, his actions and his pleasures.
Being a writer in Iceland, you get rewarded all the time: People really do read our books, and they have opinions; they love them, or they hate them. At the average Christmas party, people push politics and the Kardashians aside and discuss literature.
In romance, I can’t stand this scenario: A woman is awakened to find a strange man in her bedroom—and then automatically finds him attractive. I’m sorry, but if I awoke to a strange man in my bedroom, I’d be reaching for a weapon—not admiring the view.
Each individual work serves as an expression of our most personal state of mind at that particular moment and of the inescapable, imperative need for release by means of an appropriate act of creation: in the rhythm, form, colour and mood of a picture.
There has been 32 isms since the advent of cubism, yet after all there are essentially the same two old strings, the Romantic and the Classical. We've just be confused by the storm. Science and psychology have played a great part to say nothing of sex.
It has become progressively clearer that the plastic expression of true reality is attained through dynamic movement in equilibrium. Plastic art affirms that equilibrium can only be established through the balance of unequal but equivalent oppositions.
One of the questions that I hear over and over and over is, 'What do we do with all these paintings we do on television?' Most of these paintings are donated to PBS stations across the country. They auction them off, and they make a happy buck with 'em.
There will be, I think, an attempt to grasp again the surprise and accidents of nature and a more intimate and sympathetic study of its moods, together with a renewed wonder and humility on the part of such as are still capable of these basic reactions.
I thought that from the moment someone else could do the same as myself, there was no difference between the pictures and they should not be signed. Afterwards I realized it was not so and began to sign my pictures again. Picasso had begun again anyhow.
In painting I try to make some logic out of the world that has been given to me in chaos. I have a very pretentious idea that I want to make life, I want to make sense out of it. The fact that I am doomed to failure - that doesn't deter me in the least.
I am fifty years old and I have always lived in freedom; let me end my life free; when I am dead let this be said of me: 'He belonged to no school, to no church, to no institution, to no academy, least of all to any regime except the regime of liberty.'
You know, the process, I think, is the story. And it goes back, again, to what I said about chance and about radical contingency, the idea that all of this is this well-oiled machine that's been reared up and, like, really articulated and thought about.
So long as painting deals with objective nature, it is an impure art, for recognizability precludes the highest aesthetic emotion. All painting, ancient or modern, moves us aesthetically only in so far as it possesses a force over and beyond its aspect.
The beginnings and ends of shadow lie between the light and darkness and may be infinitely diminished and infinitely increased. Shadow is the means by which bodies display their form. The forms of bodies could not be understood in detail but for shadow.
Painting expresses the depth and insight, the spiritual quality of the artist. If art is about life, then, while the depth to which the artist has drunk from the well of life may not guarantee success, it must surely improve the quality of his/her work.
When we did Cubist paintings, our intention was not to produce Cubist paintings but to express what was within us. No one laid down a course of action for us, and our friends the poets followed our endeavour attentively but they never dictated it to us.
In art and science we are now in a delta, at the end of the long flow of progress. In a delta there is no clear direction but there may be many choices. The best we can do is to enjoy the choices that we have and to be genuinely and creatively eclectic.
Progressive art can assist people to learn not only about the objective forces at work in the society in which they live, but also about the intensely social character of their interior lives. Ultimately, it can propel people toward social emancipation.
Though I am often in the depths of misery, there is still calmness, pure harmony and music inside me. I see paintings or drawings in the poorest cottages, in the dirtiest corners. And my mind is driven towards these things with an irresistible momentum.
Let me stop there, but my God, how beautiful Shakespeare is, who else is as mysterious as he is; his language and method are like a brush trembling with excitement and ecstasy. But one must learn to read, just as one must learn to see and learn to live.
Art is too popular. If plumbing was as popular as art is we would have amateur plumbers running around brandishing wrenches and Roto-Rooters, climbing in and out of sewers and writing gibberish about pipe systems. And none of our our toilets would work.
Every single person is unlike anyone else. Therefore, in creating a portrait of someone... we must look carefully to catch that particular unique quality. In fact, we can neglect nothing because everything we select or do sends a message to the observer.
In Paris in the late '40s, I started making my first reliefs. They are separate panels. I wanted to do something coming out of the wall, almost like a collage. I did a lot of white reliefs when I started because I liked antique reliefs, really old stuff.
It is the custom of Venice to paint on canvas, either because it does not split and is not worm-eaten, or because pictures can be made of any size desired, or else for convenience... so that they can be sent anywhere with very little trouble and expense.
It is necessary to mark the greater from the lesser truth: namely the larger and more liberal idea of nature from the comparatively narrow and confined; namely that which addresses itself to the imagination from that which is solely addressed to the eye.