Painting Quotes - page 78
![Turner visited Plymouth (my native town) while I was staying there in the summer of 1813, or perhaps 1814 (1812 ?), painting portraits. As he wished to see the scenery of the river Tamar - [river in South-west England], I accompanied him, together with Mr. Ambrose Johns from Plymouth.. ..to a cottage near Calstock, the residence of my aunt, Miss Pearce, where we all stayed for a few days. From that point as a centre Turner made various excursions, and the result of one of his rambles was a sketch of the scene which afterwards grew into the celebrated picture of the painting 'Crossing the Brook'. The bridge in that picture is Calstock Bridge; some mining works are indicated in the middle distance. The extreme distance extends to the mouth of the Tamar, the harbour of Hamoaze, the hills of Mount Edgcumbe, and those on the opposite side of Plymouth Sound. The whole scene is extremely faithful. (J. M. W. Turner)](https://static.quotesdtb.com/img/quotes_images/80/j-m-w-turner-1016380.jpg)
Had optical perception not evolved into something more than sensory perception, into super-sensory perception, then the present period would never have had the courage to discover the spiritual in matter. There would have been no fundamental difference between a painting by Picasso [from Picasso's so-called 'abstract' period] and one by Paulus Potter [Dutch painter from the 17th century, famous for his painting of cows].
Theo van Doesburg
We speak of concrete and not abstract painting because nothing is more concrete, more real then a line, a colour, a surface. A woman, a tree, a cow; are these concrete elements in a painting? No. A woman, a tree and a cow are concrete only in nature; in painting they are abstract, illusionistic, vague and speculative. However, a plane is a plane, a line is a line and no more or no less than that. 'Concrete paintin'. Spirit has arrived at the age of maturity...
Theo van Doesburg
It [grey color] makes no statement whatever.. .It has the capacity that no other color has, to make 'nothing' visible. To me grey is the welcome and only possible equivalent for indifference, non-commitment, absence of opinion, absence of shape (note 99).. ..but, grey like formlessness and the rest, can be real only as an idea.. ..The painting is then a mixture of grey as a fiction and grey as a visible, designated area of color.
Gerhard Richter
But the point is, while one cannot blame the Muslim propagandists for painting a rosy picture of the religion they try to sell, we now see eminent historians spreading this utterly untruthful item of propaganda, in books which are required reading in many universities. They even lecture others and call them communalists if they don't swallow these Islamic-cum-Nehruvian lies.
Koenraad Elst
I think that the fun of telling stories in this galaxy is that you get to take things that are familiar and you get to adjust them, augment them, comment on them, continue them. It's a world that is looking to be expanded. I mean, the original movies did the most remarkable thing in referencing the Clone Wars and the Empire and the Senate, and the Old Wars, and never showing any of these things. But the painting that was created of this past canvas, it's incredible how intimate it was. But you always felt that there was a peripheral life and history and world beyond what you were seeing.
J. J. Abrams
Gainsborough was never in Italy, and to atone in some measure for the injury which that negligence might prove to him, he was in the habit of borrowing, and sometimes purchasing, works of that school as objects of study. One day, finding him attentively examining the fine picture of Mola that represents 'Jupiter and Leda' from which it was with difficulty he could be parted, we inquired what it was that so particularly caught his attention. 'It is this manner of painting' replied the modest artist 'which I shall never attain, for Mola appears to have made it his own by patent.'
Thomas Gainsborough
This eminent painter, whose contempt for the follies of mankind kept pace with his acute observation of them, was so disgusted at the blind preference paid to his powers of portraiture that for many years of his residence at Bath he regularly shut up all his landscapes in the back apartments of his house, to which no common visitors were admitted. The landscape that first found its way into any collection was purchased of him by the late Henry Hoare, Esq., of Stourhead, on a friend's recommendation! and so little even then was the merit of Gainsborough duly estimated that Mr. Bampfylde, a dilettante in painting, being on a visit to Stourhead, offered to mend Gainsborough's sheep by repainting them, and was allowed to do so. They have been restored to their original deficiencies by the taste and good sense of the present possessor of that beautiful place [Sir Richard Colt Hoare ].
Thomas Gainsborough
..Turner did not believe that colour was reducible to system; and Gainsborough, when painting his 'Blue Boy', seems to have been of the same opinion. I think it was the remark of Mr. Field, when we were looking at that celebrated picture [ Blue Boy ], that Gainsborough's eye was truer than his head, since against his theory he had introduced a sufficiency of warm colours into the flesh tints to balance the predominating cold of the picture.
Thomas Gainsborough
At Gloucester [village at the sea where Hopper with his wife Jo had married and stayed during the summer of 1924] when everyone else would be painting ships and the waterfront I'd just go around looking at houses (watercolor: 'Haskell's house', 1924). It is a solid looking town. The roofs are very bold, the cornices bolder. The dormers cast very positive shadows. The sea captain influence I guess – the boldness of ships.
Edward Hopper
Ruben Fleischer: "..The principle idea behind M.I.A.'s artwork is to have pretty heavy/political ideas, but to present them in a poppy candy-coated wrapper. So someone might buy her painting because it is pretty to the eye, and not necessarily consider that it is a rebellious image that she is presenting. However, after they've had it for a while, they might start to think - why do I have a pink tank on my wall? ... I think that ["Galang"] is a very successful video in that we have true images of revolution playing on MTV. However, because there's lots of pretty colors and a pretty girl dancing, no one blinks an eye. Hopefully we have succeeded in subconsciously starting the revolution." May, 2005 [after directing music video for "Galang"].
M.I.A.
I suppose any form of art can be said to be propaganda for a state of mind. Inevitably, if you are creating a painting, or writing a story, you are making propaganda, in a sense, for the way that you feel, the way that you think, the way that you see the world. You are trying to express your own view of reality and existence, and that is inevitably going to be a political action-especially if your view of existence is too far removed from the mainstream view of existence. Which is how an awful lot of writers have gotten into terrible trouble in the past.
Alan Moore
It happens in every marriage. My husband, whom I adored, wanted me to be more like how he wanted me to be. But I have too much of an independent personality. I'd be off painting and he wanted me to be more of a housewife...In Hollywood, they think they want you, but really they want what they want you to be.
Kim Novak
My recollection of meeting him [ Jackson Pollock ] outside of this one incident, was at a show that John Graham did at the MacMillin Gallery [1942]. He invited someone called Jackson Pollock and myself, and, I believe, de Kooning. There were three unknown Americans put into that show and it turned out we were the three and it was through that source, my trying to track down the other unknown American who was painting abstractly at that point, as though I knew them all in New York City.. ..and I promptly went up to Pollock's studio and that's when I say I met Pollock for the first time.. ..And then, you see, after I saw Pollock, met him, saw the work, I said, "I understand the third painter is de Kooning," and he said he didn't know de Kooning and I said, "Well, I do and I'll take you over and introduce you." So I brought Pollock up to de Kooning's studio. De Kooning was in a loft at that time because he was something, and that is how Pollock met De Kooning.
Lee Krasner
A work needs only to be interesting. Most works finally have one quality. In earlier art the complexity was displayed and built the quality. In recent painting the complexity was in the format and the few main shapes, which had been made according to various interests and problems. A painting by Newman is finally no simpler than one by Cezanne. In the three-dimensional work the whole thing is made according to complex purposes, and these are not scattered but asserted by one form. It isn't necessary for a work to have a lot of things to look at, to compare, to analyze one by one, to contemplate. The thing as a whole, its quality as a whole, is what is interesting. The main things are alone and are more intense, clear and powerful.
Donald Judd
..by a Dominico Greco.. ..who paints excellent things in Toledo, is a painting of Saint Maurice and his soldiers, which he made for the altar of the Saints, and is now in the Chapter House; it did not please His Majesty, but that is not surprising, for it pleased few, although it is said it is of much art and that there are many excellent things by his hand.
El Greco
The whole beauty of the Film is that it has a certain fixed speed. The way you see it is mechanically conditioned. I mean, take a painting - you can just glance at it, or you can stare at the left hand top corner for half an hour. Same thing with a book. The author can't stop you from skimming it, or staring at the last chapter and reading backwards. The point is, you choose your approach. When you go into a cinema it's different. There's the film, and you have to look at it as the director wants you to look at it. He makes his points, one after another, and he allows you a certain number of seconds or minutes to grasp each one. If you miss anything he won't repeat himself, and he won't stop to explain. He can't. He's started something and he has to go through with it.
Christopher Isherwood
"What madman, or what clever-dick with the instincts of a counterfeiter was the first to paint a sphere in trompe l'oeil on a surface that is vertical and rigorously flat! And that's what they teach at the Beaux-Arts [academy]! How could such idiocies ever have survived the verdict of Pascal?" [quote of Albert Gleizes ]. That was how, in 1906, Albert Gleizes was feeling his way towards Cubism and condemned in advance those who never saw anything in it other than a shibboleth [mot d'ordre]. It was still nothing more than a need he felt, the need not for an intellectual art but for an art that would be something other than a systematic absurdity. Quite clearly nature and the painting make up two different worlds which have nothing in common, and what is quite in its place in the one cannot also be in its place in the other.
Jean Metzinger
Art excludes the unnecessary. Frank Stella has found it necessary to paint stripes. There is nothing else in his painting. Stella is not interested in expression or sensitivity. He is interested in the necessity of painting. Symbols are counters passed among people. Frank Stella's painting is not symbolic. His stripes are the paths of brush on canvas. These path leads only into painting.
Carl Andre
