Quotes of All Topics . Occasions . Authors
If the whole world should agree to speak nothing but truth, what an abridgment it would make of speech! And what an unravelling there would be of the invisible webs which men, like so many spiders, now weave about each other!
Objects of every sort are materials for the new art: paint, food, chairs, electric and neon lights, smoke, water, old socks, a dog, movies, a thousand other things which will be discovered by the present generation of artists.
It's very intense to go back to the past and revive work that I've already experienced and moved forward from. It's like seeing an old girlfriend - awkward at times, nostalgic at times and downright maddening and embarrassing.
Work at the same time on sky, water, branches, ground, keeping everything going on an equal basis... Don't be afraid of putting on colour... Paint generously and unhesitatingly, for it is best not to lose the first impression.
Since I moved six or seven times the first year I was in New York, I had to be able to roll up the work, and paper would just get destroyed. Once I looked at what I'd done, I realized I had made a painting, sort of by default.
When I began as an artist, I already did not like expressionism, or abstract expressionism, because abstract painting had already been done. I did not want to belong to any one group or the other, and I'm not one or the other.
I have seen him set fire to his wigwam and smooth over the graves of his fathers... clap his hand in silence over his mouth, and take the last look over his fair hunting ground, and turn his face in sadness to the setting sun.
I wanted to create a kind of substance by means of brush-work. But that is the kind of discovery which one makes gradually... Thus it was that I subsequently began to introduce sand, sawdust and metal filings into my pictures.
Like, the smells and the sights and the sounds. As an artist, you want to sort of be able to engage that and get that down in some way. This is - this is a type of familiarity but a type of radical difference at the same time.
I'm about looking at each of those perceived menacing black men that you see in the streets all over the place, people that you oftentimes will walk past without assuming that they have the same humanity, fears that we all do.
Capra is an old-time movie craftsman, the master of every trick in the bag, and in many ways he is more at home with the medium than any other Hollywood director. But all of his details give the impression of contrived effect.
All painting, beginning with Impressionism, is antiscientific, even Seurat. I was interested in introducing the precise and exact aspect of science, which hadn't often been done, or at least hadn't been talked about very much.
I can't stand theory because it is imposed by the intellectual. And the intellectual is, by definition, not a creative person. The intellectual is a person who talks about the creative process, but often doesn't understand it.
A topic is not interesting enough until it is multi layered. There is no vigor in a motive without many layers. One also learns quite a lot when one has been working on a difficult painting. That is my feeling. I believe that.
The Mediterranean has the color of mackerel, changeable I mean. You don't always know if it is green or violet, you can't even say it's blue, because the next moment the changing reflection has taken on a tint of rose or gray.
Art is something greater and higher than our own skill or knowledge or learning. That art is something which, though produced by human hands, is not wrought by hands alone, but wells up from a deeper source, from a man's soul.
People mistakenly think that art is about nature, or about an artists feelings about nature. It is instead a path of enlightenment and pleasure, one of many paths, where nature and the artists feelings are merely raw material.
In this context of achievement-and-death, artist who make Happenings are living out the purest melodrama. Their activity embodies the myth of nonsuccess, for Happenings cannot be sold and taken home; they can only be supported.
When I want to render these fine nuances, I do not find them in the subject, but in the nature of women in real life who seek unhealthy emotions and are too stupid even to understand the horror in the most appalling situations.
Man was not intended to live alone... marriage is the best cure for that wretched lingering over one's work. I think I must feel more settled than you all. I would immensely like to see you all married like myself and anchored.
There is movement and movement. There are movements of small tension and movements of great tension and there is also a movement which our eyes cannot catch although it can be felt. In art this state is called dynamic movement.
It was something that came sort of matter-of-factually. Because there - it's like really - real honest engagement with the people around me and just like really honestly being a little bit confused, quite frankly, about Harlem.
The lover is moved by the beloved object as the senses are by sensual objects; and they unite and become one and the same thing. The work is the first thing born of this union; if the thing loved is base the lover becomes base.
To will a new form is unacceptable, because will builds distortion. Desire, too, is incomplete and arbitrary. These strategies, however intimate they might become, must especially be removed to clear the way for something else.
Observing sea, sky and stars, I sought to indicate their plastic function through a multiplicity of crossing verticals and horizontals. Impressed by the vastness of Nature, I was trying to express its expansion, rest and unity.
So-called austerity, the stoic injunction, is the path towards universal destruction. It is the old, the fatal, competitive path. Pull in your belt is a slogan closely related to gird up your loins, or the guns-butter metaphor.
The purpose of my work was never to destroy but always to create, to construct bridges, because we must live in the hope that humankind will draw together and that the better we understand each other the easier this will become.
I'm in a foul mood as I'm making stupid mistakes... This morning I lost beyond repair a painting with which I had been happy, having done about twenty sessions on it; it had to be thoroughly scraped away... what a rage I was in!
Etretat is becoming more and more amazing. Now is the real moment: the beach with all its fine boats; it is superb, and I am enraged not to be more skillful in rendering all this. I would need two hands and hundreds of canvases.
Any number of holier-than-thou honorable realists walk around in the belief that they have accomplished something, simply because they tell you for the hundredth time that a field is green and a red-painted house is painted red.
I don't know who made up this sort of greatest-hits list for artists. If one artist isn't moving forward anymore, then it's assumed another one is going to take their place. With Francis Bacon's death, a whole genre of art died.
We have seen so many exhibits in recent years where the exhibition design was aesthetically beautiful. In this case, if someone wants to get something out of the exhibit, they must neglect the aesthetics and look at my pictures.
When we speak of the perfection of art, we must recollect what the materials are with which a painter contends with nature. For the light of the sun he has but patent yellow and white lead - for the darkest shade, umber or soot.
I have established the semaphore of Suprematism. I have beaten the lining of the colored sky, torn it away and in the sack that formed itself, I have put color and knotted it. Swim! The free white sea, infinity, lies before you.
The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.
If I had known there was such a thing as Islamic Calligraphy, I would never have started to paint. I have strived to reach the highest levels of artistic mastery, but I found that Islamic Calligraphy was there ages before I was.
In order to acquire a growing and lasting respect in society, it is a good thing, if you possess great talent, to give, early in your youth, a very hard kick to the right shin of the society that you love. After that, be a snob.
Nobody has communicated with the public more than Lady Gaga. Ever. I trust the audience, and I'm very impressed. As far as they're concerned, she's part of their family. The only guy who ever did that was Bing Crosby, years ago.
I still get a little nervous before performing. You don't want to forget a lyric; you don't want to make a mistake. I still get butterflies. You can try to judge an audience, but you can only really judge things by the applause.
I devour nature ceaselessly. I exaggerate, sometimes I make changes in the subject; but still I don't invent the whole picture. On the contrary, I find it already there. It's a question of picking out what one wants from nature.
Of course I will look at anything, but I have not got the time or the patience to keep on looking at art that I know could be better. I don't want art that needs fixing, I want art that sends me back to the studio to fix my own.
Fame has no necessary conjunction with praise; it may exist without the breath of a word: it is a recognition of excellence which must be felt, but need not be spoken. Even the envious must feel it: feel it, and hate in silence.
In times of violence, personal predilections for niceties of colour and form seem irrelevant. All primitive expression (like the myths) reveals the constant awareness of powerful forces, the immediate presence of terror and fear.
My recollections of Armenia open new visions for me. My art is therefore a growth art where forms, pines, shapes, memories of Armenia germinate, breathe, expand and contract, multiply and thereby create new paths for exploration.
Most inspiration still comes from bicycling around San Francisco. This city never fails to inspire me. It is one of the most vibrant cities - especially visually - with a constant influx of young energy arriving daily. I love it.
You'll understand, I'm sure that I'm chasing the merest sliver of color. It's my own fault. I want to grasp the intangible. It's terrible how the light runs out. Color, any color, lasts a second, sometimes 3 or 4 minutes at most.
I love you more than my own skin and even though you don’t love me the same way, you love me anyways, don’t you? And if you don’t, I’ll always have the hope that you do, and i’m satisfied with that. Love me a little. I adore you.
It wasn't really until after I got out of art school that I realized that I'd been doing that sort of for the audience, for that context. Somehow, being alone in the room, it made no sense at all to make those kinds of paintings.
I would imagine that what you try to do is to - is to be as sensitive to the environment that surrounds you as possible. As you see, my work has become increasingly global. My presence in the world has become increasingly global.
The fox when it sees a flock of herons or magpies or birds of that kind, suddenly flings himself on the ground with his mouth open to look as he were dead; and these birds want to peck at his tongue, and he bites off their heads.