Well, I have a very simple method of painting.

I use a retouching varnish which is made in France, Libert, and that's all the varnish I use.

There is a sort of elation about sunlight on the upper part of a house.

Maybe I am not very human - what I wanted to do was to paint sunlight on the side of a house.

In its most limited sense, modern, art would seem to concern itself only with the technical innovations of the period.

The trend in some of the contemporary movements in art, but by no means all, seems to deny this ideal and to me appears to lead to a purely decorative conception of painting.

No amount of skillful invention can replace the essential element of imagination.

My aim in painting has always been the most exact transcription possible of my most intimate impression of nature.

After all, we are not French and never can be, and any attempt to be so is to deny our inheritance and to try to impose upon ourselves a character that can be nothing but a veneer upon the surface.

If the technical innovations of the Impressionists led merely to a more accurate representation of nature, it was perhaps of not much value in enlarging their powers of expression.

The question of the value of nationality in art is perhaps unsolvable.

What I wanted to do was to paint sunlight on the side of a house.

If you could say it in words there would be no reason to paint.

If I had the energy, I would have done it all over the county.

Well, I have a very simple method of painting.

More of me comes out when I improvise.

I have tried to present my sensations in what is the most congenial and impressive form possible to me.

I trust Winsor and Newton and I paint directly upon it.

Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again become great.

I believe that the great painters with their intellect as master have attempted to force this unwilling medium of paint and canvas into a record of their emotions.

Well, I've always been interested in approaching a big city in a train, and I can't exactly describe the sensations, but they're entirely human and perhaps have nothing to do with aesthetics.

Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world.

In general it can be said that a nation's art is greatest when it most reflects the character of its people.

I find linseed oil and white lead the most satisfactory mediums.

I find in working always the disturbing intrusion of elements not a part of my most interested vision, and the inevitable obliteration and replacement of this vision by the work itself as it proceeds.

I think that zinc white has a property of scaling and cracking.

It's to paint directly on the canvas without any funny business, as it were, and I use almost pure turpentine to start with, adding oil as I go along until the medium becomes pure oil. I use as little oil as I can possibly help, and that's my method.

The only real influence I've ever had was myself.

If the picture needs varnishing later, I allow a restorer to do that, if there's any restoring necessary.

There will be, I think, an attempt to grasp again the surprise and accidents of nature and a more intimate and sympathetic study of its moods, together with a renewed wonder and humility on the part of such as are still capable of these basic reactions.

Great art is the outward expression of an inner life in the artist and this inner life will result in his personal vision of the world.

The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.

I don't know if it was the whole audience getting stoned out of their minds getting ready for the Floyd thing or what it was, but it was like playing to a painting.

Painting is just another way of keeping a diary.

I don't like painting flowers in my music. I like painting guts and pain.

Painting is a faith, and it imposes the duty to disregard public opinion.

If the weather is good I go into the nearby wood - there I am painting a small beech forest (in the sun) with a few conifers mixed in. This takes until 8 'o clock.

The paintings may communicate even better because people are lazy and they can look at a painting with less effort than they can read a poem.

Life is painting a picture, not doing a sum.

The worlds I paint leave a lot to engage the imagination by hinting at what lies beyond the four edges of the painting. I think getting beyond the four edges of an opportunity or challenge is one of the basic skills you need in business.

When I was in art college, I would be painting, and I would create something on a canvas that was actually quite attractive. But if I got frightened and tried to protect that, that canvas would die.

My movement from painting to film was a very conscious one.

I believe that painting should come through the avenues of meditation rather than the canals of action.

For example, in painting the form arises from abstract elements of line and color, while in cinema the material concreteness of the image within the frame presents - as an element - the greatest difficulty in manipulation.

Coming to understand a painting or a symphony in an unfamiliar style, to recognize the work of an artist or school, to see or hear in new ways, is as cognitive an achievement as learning to read or write or add.

I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.

Painting... in which the inner and the outer man are inseparable, transcends technique, transcends subject and moves into the realm of the inevitable.

When we don't have information, we go to the simplest outlook, to black and white. But then we have to lie to ourselves. Black is never as black as you're painting it and white is never as white.

I was not out to paint beautiful pictures; even painting good pictures was not important to me. I wanted only to help the truth burst forth.