Painting Quotes

I knew that I must paint not what I saw, but only what was in me, in my soul.

I paint ideas, not things. My intention is less to paint works that are pleasing to the eye than to suggest great thoughts which will speak to the imagination and the heart and will arouse all that is noblest and best in man.

The painter should not paint what he sees, but what will be seen.

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.

I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting. Like finding some imaginary computer painter, or a robot who paints.

I don't paint like a woman is supposed to paint. Thank God, art doesn't bother about things like that.

The interesting thing is that in everyday life, I fail to see the most ordinary things. I often stumble and sometimes I even fall over. But when I draw or look at a painting, I go into a sort of overdrive and just see things differently than other people.

The paintings are like prayers, relating to wishing for something beyond everyday life.

What I do I am driven to do. I follow the dictates of a looming and unseen force. I try to become like a musical instrument, intruding no sound of its own but bringing forth such tones as are played upon it by a master's hand.

The horizon is more than a convention of landscape painting, less than truth.

Many contemporary painters feel that their landscapes come from within and are brought to the surface and given form as a result of various stimuli. The artist's internal world is waiting to be evoked by whatever means the artist finds most productive, and... this world is just as important as the outer, visible world.

Burn shavings and splinters of pitch pine, and when they turn to charcoal, put them out, and pound them into mortar with size. This will make a pretty black for fresco painting.

The paint has a skin to it, here taut and glossy, there wrinkled, abraded, scarred. It is pierced, abraded, scraped. A line drawn through it will go through half a dozen states, from the furry bloom of crusted charcoal to a blind furrow, cutting a channel in to soft paint below.

It's weird making a drawing of painting. I start to realize that charcoal is this incredibly fragile material. I'm making images of paintings out of dust.

My core competency has really informed my painting. The roots of editing stem from classical paintings - classic painters intended to drive your eye from this conflict to that intrigue, ending with a caprice. That is a montage, that is editing. It became a flipbook in later generations.

When you talk about painters and you talk about painters painting masterpieces, there is no painter who painted only one painting and that was a masterpiece. You have to do a whole bunch of paintings to get to the place of mastering your craft.

I have told myself a hundred times that painting - that is, the material thing called a painting - is no more than a pretext, the bridge between the mind of the painter and the mind of the spectator.

My paint is like a rocket, which describes its own space. I try to make the impossible possible. What is happening I cannot foresee, it is a surprise. Painting, like passion, is an emotion full of truth and rings a living sound, like the roar coming from the lion's breast. To paint is to destroy what preceded. I never try to make a painting, but a chunk of life. It is a scream; it is a night; it is like a child; it is a tiger behind bars.

I would never have taken up painting if women did not have breasts.

I've been lucky enough to win an Oscar, write a best-seller - my other dream would be to have a painting in the Louvre. The only way that's going to happen is if I paint a dirty one on the wall of the gentlemen's lavatory.

Once you realize that the world is your own projection, you are free of it. You need not free yourself of a world that does not exist, except in your own imagination! However is the picture, beautiful or ugly, you are painting it and you are not bound by it. Realize that there is nobody to force it on you, that it is due to the habit of taking the imaginary to be real. See the imaginary as imaginary and be free of fear.

A painting only lives in the eye of the beholder

The Painter must leave the beholder something to guess.

Art is long. Life is short. A picture can become for us a highway between a particular thing and a universal feeling.

But I have a problem with the term 'light'. I never in my life knew what to do with that. I know that people have mentioned on some occasions that 'Richter is all about light', and that 'the paintings have a special light', and I never knew what they were talking about. I was never interested in light. Light is there and you turn it on or you turn it off, with sun or without sun. I don't know what the 'problematic of light' is. I take it as a metaphor for a different quality, which is similarly difficult to describe. Good.

Painting dissolves the forms at its command, or tends to; it melts them into color. Drawing, on the other hand, goes about resolving forms, giving edge and essence to things. To see shapes clearly, one outlines them--whether on paper or in the mind. Therefore, Michelangelo, a profoundly cultivated man, called drawing the basis of all knowledge whatsoever.

We are not simply intellectual creatures. We wish to make love, to enjoy a gourmet dinner, to jog in the park, to cheer lustily at a ball game, to engage in spirited conversation with our friends, to play bridge or tennis, travel to exotic places, struggle with others to build a better world, and to enjoy the arts. The arts are so vital because they help to make life worth living. Music, poetry, literature, paintings, dance, and the theater are among our richest joys...The fine arts contribute immeasurably to the good life and that is why we cherish them.

An honest self-portrait is extremely rare because a man who has reached the degree of self-consciousness presupposed by the desire to paint his own portrait has almost always also developed an ego-consciousness which paints himself painting himself, and introduces artificial highlights and dramatic shadows.

Every time I paint a portrait I lose a friend.

On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.

Since I have known God in a saving manner, painting, poetry, and music have had charms unknown to me before. I have received what I suppose is a taste for them, or religion has refined my mind and made it susceptible of impressions from the sublime and beautiful. O, how religion secures the heightened enjoyment of those pleasures which keep so many from God, by their becoming a source of pride!

What a conception of art must those theorists have who exclude portraits from the proper province of the fine arts! It is exactly as if we denied that to be poetry in which the poet celebrates the woman he really loves. Portraiture is the basis and the touchstone of historic painting.

Art itself, in all its methods, is the child of religion. The highest and best works in architecture, sculpture and painting, poetry and music, have been born out of the religion of Nature.

A painting in a museum hears more ridiculous opinions than anything else in the world.

Painting is an infinitely minute part of my personality.

Painting is a means of self-enlightenment.

Watch a French housewife as she makes her way slowly along the loaded stalls... searching for the peak of ripeness and flavor... What you are seeing is a true artist at work, patiently assembling all the materials of her craft, just as the painter squeezes oil colors onto his palette ready to create a masterpiece.

Painting is the grandchild of nature. It is related to God.

The only time I feel alive is when I'm painting.

Art enables us to find ourselves and lose ourselves at the same time.

I see no thread running through my work; I simply get on with my life and my painting.

Before I start painting I have a slightly ambiguous feeling: happiness is a special excitement because unhappiness is always possible a moment later.

You know, I didn't write my books for critics and scholars. I wrote them for students and artists. When I hear how much my work has meant to them--well, I can't tell you how happy that makes me. That means that this great stuff of myth, which I have been so privileged to work with, will be kept alive for a whole new generation. That's the function of the artists, you know, to reinterpret the old stories and make them come alive again, in poetry, painting, and now in movies.

Van Gogh was so under appreciated in his time, he sold only one of his 900 paintings while alive. Posthumously, he became one of the most famous artists of all time and his work is now considered priceless. Oh the irony.

A painting of any quality is always going to have nerdy energy, an affirmation behind it. It's gonna be like a kid playing a video game.

Art, if it is successful in the task of questioning reality, if it is good painting and not merely a performance of dexterity, will be an affirmation of God.

In every painting, as in any other work of art, there is always an IDEA, never a STORY. The idea is the point of departure, the first cause of the plastic construction, and it is always present all the time as energy creating matter. The stories and other literary associations exist only in the mind of the spectator, the painting acting as the stimulus.

From since I could remember I've always been an artist, drawing, painting and so forth. I would also always draw made up rock n' roll characters in a band who each had their own style and personalities. I think by accident I was already becoming a fashion designer.

The trick is not to get too fanatical about getting the accent too accurate because then that becomes a mask. What I try to do is just painting and sketching some of the sounds without obliterating my own voice.

Let the painter composing narrative pictures take pleasure in wealth and variety, and avoid repeating any part that occurs in it, so that the uniqueness and abundance attract people to it and delight the eye of the observer. I say that a narrative painting requires (depending on the scene), wherever the eye falls, a mixture of men of diverse appearances, of diverse ages and dress, combined together with women, children, dogs, horses, buildings, fields, and hills.