This truth must be recognized as a dogma and assume the validity of an axiom in the general understanding of painting.

This truth must be recognized as a dogma and assume the validity of an axiom in the general understanding of painting.

The realistic value of a work is completely independent of its properties in terms of content.

Man needs colour to live; it's just as necessary an element as fire and water.

Enormous enlargements of an object or a fragment give it a personality it never had before, and in this way, it can become a vehicle of entirely new lyric and plastic power.

What does that represent? There was never any question in plastic art, in poetry, in music, of representing anything. It is a matter of making something beautiful, moving, or dramatic - this is by no means the same thing.

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.

Painting is a nail to which I fasten my ideas.

Painting is a hobby for me.

I'm a secretive bastard. I would never let anybody watch me painting... it would be like somebody watching you have sex - painting is that personal to me.

Good painting is the kind that looks like sculpture.

Well, I am not interested in the kind of expression that you have when you paint a painting with brush strokes. It's all right, but it's already done and I want to do something new.

There are certain things in which mediocrity is not to be endured, such as poetry, music, painting, public speaking.

Landscape is to American painting what sex and psychoanalysis are to the American novel.

Well, let's say we acknowledged the School of French Painting - the Paris School of painting as the leading force and vitality of the time. I think that was understood and felt and experienced.

I don't work from drawings. I don't make sketches and drawings and color sketches into a final painting.

I don't understand it. Jack will spend any amount of money to buy votes but he balks at investing a thousand dollars in a beautiful painting.

No one is an artist unless he carries his picture in his head before painting it, and is sure of his method and composition.

The secret to so many artists living so long is that every painting is a new adventure. So, you see, they're always looking ahead to something new and exciting. The secret is not to look back.

There are only two styles of portrait painting; the serious and the smirk.

This truth must be recognized as a dogma and assume the validity of an axiom in the general understanding of painting.

Photography suits the temper of this age - of active bodies and minds. It is a perfect medium for one whose mind is teeming with ideas, imagery, for a prolific worker who would be slowed down by painting or sculpting, for one who sees quickly and acts decisively, accurately.

A revolution is not a dinner party, or writing an essay, or painting a picture, or doing embroidery.

People whose understanding and taste in literature, painting, and music are beyond question are, for the most part, ignorant of what is good or bad art in the theater.

Painting what I experience, translating what I feel, is like a great liberation. But it is also work, self-examination, consciousness, criticism, struggle.

Art works because it appeals to certain faculties of the mind. Music depends on details of the auditory system, painting and sculpture on the visual system. Poetry and literature depend on language.

My parents felt that acting was far too insecure. Don't ask me what made them think that painting would be more secure.

The greatest advances of civilization, whether in architecture or painting, in science and literature, in industry or agriculture, have never come from centralized government.

I have never subscribed to the Dirty Pallet school of painting.

As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.

Painting is silent poetry, and poetry is painting that speaks.

I needed an outlet in high school and came across painting. I've actually been painting longer than I've been acting. A movie is a collaborative effort, and with painting you just have yourself.