Quotes of All Topics . Occasions . Authors
His failures are as valuable as his successes: by misjudging one thing he conforms something else, even if at the time he does not know what that something else is.
I could easily blast so much keef night and day I become a bouhali; a real-gone crazy, a holy untouchable madman unto whom everything is permitted, nothing is true.
Here's a test you can try at home, Put a 2 year old in a playpen with an apple and a rabbit. If it plays with the apple and eats the rabbit, you've got a carnivore.
I paint by all the daylight we have and that is little enough, less perhaps than you have by much... imagine to yourself how a purl must look through a burnt glass.
I know very well what I am about and that my skies have not been neglected, though they often failed in execution - and often no doubt from over anxiety about them.
This is - it's a sociological experiment in many ways. And so you're seeing the results of what happens when you put a lot of boys in a room looking at art history.
I know how young black men are seen. They're boys - scared little boys, oftentimes. I was one of them. I was completely afraid of the Los Angeles Police Department.
Perspective is a most subtle discovery in mathematical studies, for by means of lines it causes to appear distant that which is near, and large that which is small.
Weight, force and casual impulse, together with resistance, are the four external powers in which all the visible actions of mortals have their being and their end.
By amusing myself with all these games, all this nonsense, all these picture puzzles, I became famous... I am only a public entertainer who has understood his time.
I have a friend who says a beautiful painting can cure headaches, but I want it to cure a little bit more! I want it to cure the society of voting for Donald Trump.
Everything vanishes around me, and works are born as if out of the void. Ripe, graphic fruits fall off. My hand has become the obedient instrument of a remote will.
I suggest that it is the honesty of the attempt to recreate the forms and spaces visually without artistic editing that is one of the hallmarks of realist painting.
If you're fortunate enough with your history, like with Men in the Cities, your work becomes so absorbed in culture that the authorship of it doesn't exist anymore.
I don't think writers should have writer's block. I think they should write. Imagine you were a bus driver and you said, 'I've got bus driver's block.' Get over it.
Mostly, drawings are things I make for myself - I do them in sketchbooks. They are mental experiments - private inner thoughts when I'm not sure what will come out.
Knowing how to paint and to use one's colors rightly has not any connection with originality. This originality consists in properly expressing your own impressions.
There is but one Paris and however hard living may be here, and if it became worse and harder even—the French air clears up the brain and does good—a world of good.
In the fullness of artistic life there is, and remains, and will always come back at times, that homesick longing for the truly ideal life that can never come true.
To save a life is a real and beautiful thing. To make a home for the homeless, yes, it is a thing that must be good; whatever the world may say, it cannot be wrong.
You must try to match your colors as nearly as you can to those you see before you, and you must study the effects of light and shade on natures own hues and tints.
The feeling of awe and sense of wonder arises from the recognition of the deep mystery that surrounds us everywhere, and this feeling deepens as our knowledge grows.
You have to know how to use the accident, how to recognise it, how to control it, and ways to eliminate it so that the whole surface looks felt and born all at once.
Poetry and painting are done in the same way you make love; it's an exchange of blood, a total embrace - without caution, without any thought of protecting yourself.
You know, one of my - one of my best and, I think, most enlightening moments was when I was contacted by Michael Jackson. And he requested that I paint his portrait.
There was no image of the other biological half of myself. And as an artists, as a - as an - as a portraitist, the look of who you are was radically important to me.
Mind alone remains stable, and watches the chaos of phenomena, and knows that there is a plastic unity of existence - a changeless harmony - behind the everchanging.
I seem initially to have followed Fauvism, and then to have followed in Cézanne's footsteps. Whatever - I do not mind... as long as first of all I remained Vlaminck.
As soon as you see what you're looking at you have a name for it. You don't see it. The whole process of your thinking is not to see. You overcome sight by thinking.
I would like the colors, their shapes and positions to be arrived at in response to and dictated by the condition of the total space at the time they are considered.
Every real nation is a people of a common blood and descended from the same ancestors. A nation - from the Latin word meaning to be born - can have no other meaning.
The power of prayer is like turning on a light as it illuminates God's purpose for our lives. There is no greater connection to knowing His will other than the word.
I have to say I owe my career to the master composers of the Great American Songbook who have written such high-quality songs - the best popular music ever composed.
Gauguin says that when sailors have to move a heavy load or raise an anchor, they all sing together to keep them up and give them vim. That's just what artists lack!
I am working with the enthusiasm of a man from Marseilles eating bouillabaisse, which shouldn't come as a surprise to you because I am busy painting huge sunflowers.
You must try to match your colors as nearly as you can to those you see before you, and you must study the effects of light and shade on nature's own hues and tints.
Imitation is not inspiration, and inspiration only can give birth to a work of art. The least of man's original emanation is better than the best of borrowed thought.
These small shows were decidedly a success. The exhibitions were not too large to be seen easily. It was not an effort, as larger collections of pictures usually are.
I want to paint the air in which the bridge, the house and the boat are to be found - the beauty of the air around them, and that is nothing less than the impossible.
But, after all, the aim of art is to create space - space that is not compromised by decoration or illustration, space within which the subjects of painting can live.
I dont want to create a monster; I want to make something which is new, exceptional, something that only I do...something that references tradition, but is still new.
... I stare into the fridge. Like a mirrored image of myself. Cold and empty, and the lights come on only when you open the door. Otherwise ice-cold purring darkness.
I feel the need of attaining the maximum of intensity with the minimum of means. It is this which has led me to give my painting a character of even greater bareness.
I believe that to do anything in this world one needs a love for risk and adventure, and above all, to be able to do without what middle-class families call "future."
While I recommend studying the art from artists, Nature is and must be the fountain which alone is inexhaustible, and from which all excellences must originally flow.
This is something that, as artists, we constantly deal with-throwing away the past, slaying the father, and creating the new. This desire to throw away the old rules.
We have a lot of sort of received historical ways of viewing portraiture. And I suppose in some way I'm sort of questioning that by toying with the rules of the game.
Mel [Bochner] sets a very high standard. He expects only the best and most thoughtful and rigorous examinations, not only of the history of art but your own practice.
Every action needs to be prompted by a motive. To know and to will are two operations of the human mind. Discerning, judging, deliberating are acts of the human mind.
Nature is constrained by the cause of her laws which dwell inborn in her. Variant: Nature is constrained by the order of her own law which lives and works within her.