Quotes of All Topics . Occasions . Authors
I am not strictly speaking mad, for my mind is absolutely normal in the intervals, and even more so than before. But during the attacks it is terrible - and then I lose consciousness of everything. But that spurs me on to work and to seriousness, as a miner who is always in danger makes haste in what he does.
We feel lonely now and then and long for friends and think we should be quite different and happier if we found a friend of whom we might say: “He is the one.” But you, too, will begin to learn that there is much self-deception behind this longing; if we yielded too much to it, it would lead us from the road.
I had a new idea in my head... this time it's just simply my bedroom, only here colour is to do everything, and, giving by its simplification a grander style to things, is to be suggestive here of rest or of sleep in general. In a word, to look at the picture ought to rest the brain or rather the imagination.
I am anxious that the world should be inclined to look to painters for information about painting. I hope to show that ours is a regularly taught profession; that it is scientific as well as poetic; that imagination alone never did, and never can, produce works that are to stand by a comparison with realities.
Modern abstract art starts in Russia in about 1915 with Malevich, and then the Russian Revolution happens, and eventually all that experimental art gets squashed and social realism comes back into play. All of a sudden, Malevich is no longer painting black squares; he's painting peasants in colorful schmattas.
I do not intend to spare myself, not to avoid emotions or difficulties. I don't care much whether I live a longer or shorter time... the world concerns me only in so far as I feel a certain debt toward it, because I have walked on this earth for thirty years, and out of gratitude I want to leave some souvenir.
Well, I dare not allow myself any illusions, and I am afraid it may never happen that Father and Mother will really appreciate my art. It is not their fault; we do not see the same things with the same eyes, or have the same thoughts raised in us by them. They will never be able to understand what painting is.
A conscious decision to eliminate certain details and include selective bits of personal experiences or perceptual nuances, gives the painting more of a multi-dimension than when it is done directly as a visual recording. This results in a kind of abstraction... and thus avoids the pitfalls of mere decoration.
Since my subjects have always been my sensations, my states of mind and the profound reactions that life has been producing in me, I have frequently objectified all this in figures of myself, which were the most sincere and real thing that I could do in order to express what I felt inside and outside of myself.
Nabokov can be almost too delicate at times, but in 'Lolita,' he puts his aristocratic sensitivity to use in such a dark tale that it creates this great tension between the story being told and the style that it's written in. And it's just amazing that one of the best novels in English was written by a Russian.
There is no art without intoxication. But I mean a mad intoxication! Let reason teeter! Delirium! The highest degree of delirium! Plunged in burning dementia! Art is the most enrapturing orgy within man's reach.. Art must make you laugh a little and make you a little afraid. Anything as long as it doesn't bore.
I do think that fist-waving conversations around liberation ideologies are sort of dated - I'm not creating Barbara Kruger moments of self-actualization - what I'm trying to do is create more moments of chaos where we don't really know where we are: to destabilize; where all the rules are suspended temporarily.
Painting is an illusion, a piece of magic, so what you see is not what you see. I don't know what a painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere.
The world concerns me only in so far as I feel a certain indebtedness and duty toward it because I have walked this earth for thirty years, and, out of gratitude, want to leave some souvenir in the shape of drawings or pictures — not made to please a certain taste in art, but to express a sincere human feeling.
What I like about the American woman is she usually has a lot of dynamism. In the U.S., women have a tendency to go forward, to be more exaggerated than in Europe. Many times the rough ideas come from the States, then they are refined in Europe. The American women and the French women are still the best-dressed.
I love the of dealing with the homoerotic versus the idea of dealing with certain tropes with regards to black masculinity in the world, propensity towards sports, antisocial behavior, hypersexuality - all of these sort of non-truths that I don't exist in but that I see as being fixed in the world's imagination.
I pay my models to work with me, so there becomes this weird sort of economic bartering thing, which made me feel really sort of uncomfortable, almost as though you were buying into a situation - which, again, is another way of looking at those paintings. The body language in those paintings is a lot more stiff.
If everybody is looking for it, then nobody is finding it. If we were cultured, we would not be conscious of lacking culture. We would regard it as something natural and would not make so much fuss about it. And if we knew the real value of this word we would be cultured enough not to give it so much importance.
I came to the destruction of volume by the use of the plane. This I accomplished by means of lines cutting the planes. But still, the plane remained too intact. So I came to making only lines and brought the colour within the lines. Now the only problem was to destroy these lines also through mutual oppositions.
Try to forget what objects you have before you - a tree, a house, a field, or whatever. Merely think, 'Here is a little square of blue, here an oblong of pink, here a streak of yellow,' and paint it just as it looks to you, the exact color and shape, until it gives you your own impression of the scene before you.
A work based only on a line concept is scarcely more than a illustration; it fails to achieve pictorial structure. Pictorial structure is based on a plane concept. The line originates in the meeting of two planes ... we can lose ourselves in a multitude of lines, if through them we lose our senses for the planes.
I began working within the streets of Harlem, where, after graduating from Yale [University, New Haven, CT], I became the artist in residence at the Studio Museum in Harlem [New York, NY]. I wanted to know what that was about. I would actually pull people from off of the streets and ask them to come to my studio.
Be eager to lend a patient ear to the opinions of others and think long and hard whether whoever finds fault has reason or not to censure you. And if the answer is yes, correct the fault. If no, give the impression that you have not heard him, or if he is a man whom you respect, explain to him why he is mistaken.
Since Courbet, it's been believed that painting is addressed to the retina. That was everyone's error. The retinal shudder! Before, painting had other functions: it could be religious, philosophical, moral... our whole century is completely retinal, except for the Surrealists, who tried to go outside it somewhat.
I regard photography and film simply as new technical means which painters must absolutely make use of, just as from time out of mind they have made use of brush, charcoal and color. It is certain, however, that photography and film must become as evocative for the sensibility as pencil, charcoal and brush. (1927)
In earlier days, even as a child, the beauty of landscapes was quite clear to me. A background for the soul's moods. Now dangerous moments occur when Nature tries to devour me; at such times I am annihilated, but at peace. This would be fine for old people but I... I am my life's debtor, for I have given promises.
When a man paints a naked woman he gives her less than poor Nature did. I can conceive of few circumstances wherein I would have to paint a woman naked, but if I did I would not mutilate her for double the money. She is the most beautiful thing there is except a naked man, but I never saw a study of one exhibited.
Feminism was recognized by the average man as a conflict in which it was impossible for a man, as a chivalrous gentleman, as a respecter of the rights of little nations (like little Belgium), as a highly evolved citizen of a highly civilized community, to refuse the claim of this better half to self-determination.
Excellence is never granted to man but as the reward of labor. It argues no small strength of mind to persevere in habits of industry without the pleasure of perceiving those advances, which, like the hand of a clock, whilst they make hourly approaches to their point, yet proceed so slowly as to escape observation.
I take two walks up hills each day, and bike ride each morning. I also have an exercise bike to increase my heart rate. My wife and I have been going to a personal trainer for weights and balance twice a week for 10 years. My balance has improved tremendously and the weights decrease my age. I only feel 52, not 82.
I left my heart in San Francisco, high on a hill, it calls to me. To be where little cable cars climb halfway to the stars, the morning fog may chill the air, I don't care. My love waits there in San Francisco, above the blue and windy sea, when I come home to you, San Francisco , your golden sun will shine for me.
I do not see in what way the face of a man should be a less interesting landscape than any other. A man, the physical person of a man, is a little world, like any other a country, with its towns, and suburbs.. ..As a rule what is needed in a portrait is a great deal of the general, and very little of the particular.
Were it not for this [dissatisfaction], the perfect painting might be painted, on the completion of which the painter could retire. It is this great insufficiency that drives him on. The process of creation becomes necessary to the painter perhaps more than it is in the picture. The process is in fact habit-forming.
In France, in Europe, the young artists of any generation always act as grandsons of some great man - Poussin, for example, or Victor Hugo. They can't help it. Even if they don't believe in that, it gets in their system. And so when they come to produce something of their own, the tradition is nearly indestructible.
It's absolutely irrelevant what galleries and critics and people who buy your paintings think. They just don't have any possible idea of what happens to you and they're really not that interested. As a matter of fact, they hate the idea that anything really happens to you. They want you to be a genius and that's it.
If you caught your kid raising cats in tiny boxes, forcing them to live in their own feces without clean air or sunlight, pulling their teeth and claws out with pliers to keep them from hurting each other…you’d rush him to a psychiatrist. But you support that very behavior every time you buy meat, eggs, dairy or fur.
If we view a great mountain soaring into the sky, it may excite us, evoke an uplifted feeling within us. There is an interplay of something we see outside of us with our inner response. The artist takes that response and its feelings and shapes it on canvas with paint so that when finished it contains the experience.
O Time! consumer of all things; O envious age! thou dost destroy all things and devour all things with the relentless teeth of years, little by little in a slow death. Helen, when she looked in her mirror, seeing the withered wrinkles made in her face by old age, wept and wondered why she had twice been carried away.
Matisse makes a drawing, then he makes a copy of it. He copies it five times, ten times, always clarifying the line. He’s convinced that the last, the most stripped down, is the best, the purest, the definitive one; and in fact, most of the time, it was the first. In drawing, nothing is better than the first attempt.
It's interesting how people who were once fairly radical can become, later in life, kind of conservative and not just in terms of politics - how if you're an artist, you can start out being somewhat avant-garde and then end up doing landscapes. Sometimes the opposite can happen, but it's usually the other way around.
The freeze of a photographic gesture, the fix of an action, how an arm twists, how a smile gets momentarily stabilized or exaggerated - to try to get some of this is important... The photofix inflects the almost literal shaping of a figure, changes of movement or potential movement, and a sense of occurrence or event.
The Artist submits from day to day to the fatal rhythm of the impulses of the universal world which encloses him, continual centre of sensations, always pliant, hypnotized by the marvels of nature which he loves, he scrutinizes. His eyes, like his soul, are in perpetual communion with the most fortuitous of phenomena.
I love bats! Women are scared of them. They think bats can get caught in their hair, don't they? But bats are the most beautiful of animals, extraordinarily delicate. Have you observed their brilliant little eyes, gleaming with intelligence, and their skin, silky as velvet? And look at all these delicate little bones.
The sight of stars always sets me dreaming just as naively as those black dots on a map set me dreaming of towns and villages. Why should these points of light in the firmament, I wonder, be less accessible than the dark ones on the map of France? We take a train to go to Torascon or Roven and we take death to a star.
Life itself, too, is forever turning an infinitely vacant, dispiriting blank side towards man on which nothing appears, any more than it does on a blank canvas. But no matter how vacant and vain, how dead life may appear to be, the man of faith, of energy, of warmth, who knows something, will not be put off so easily.
My aim is to give you only the things with which I am completely satisfied, even if it means asking you a little more [time] for them... for if I were to do otherwise I'd turn into a mere painting machine and you would be landed with a pile of incomplete work which would put off the most enthusiastic of art collectors.
People are still making paintings. People are still enjoying paintings, looking at paintings. Paintings still have something to tell us. There's a way of being in the world that painting brings to us, that painters bring to the task that we absorb and are able to be in dialogue with. That's something that's part of us.
I did all the stuff that people do - film, performance, photography, pictures and words, words and pictures. In retrospect, I was trying to find some way to put things - meaning images and forms - together that highlighted some idea of what was underneath the surface of an image, what determined how something was seen.
Like commercial stuff is sort of cheap and disposable and fun and can be sort of interesting in many ways. I love being in popular culture and existing in the evolution of popular culture. But it's so different from painting, and it's so different from that sort of slow, contemplative, gradual process that painting is.
You will never have a greater or lesser dominion than that over yourself...the height of a man's success is gauged by his self-mastery; the depth of his failure by his self-abandonment. ...And this law is the expression of eternal justice. He who cannot establish dominion over himself will have no dominion over others.