It was in the 1920s, when nobody had time to reflect, that I saw a still-life painting with a flower that was perfectly exquisite, but so small you really could not appreciate it.

Singing has always seemed to me the most perfect means of expression. It is so spontaneous. And after singing, I think the violin. Since I cannot sing, I paint.

I have things in my head that are not like what anyone has taught me - shapes and ideas so near to me - so natural to my way of being and thinking that it hasn't occurred to me to put them down.

I said to myself, I have things in my head that are not like what anyone has taught me - shapes and ideas so near to me - so natural to my way of being and thinking that it hasn't occurred to me to put them down.

It was all so far away - there was quiet and an untouched feel to the country and I could work as I pleased.

To create one's world in any of the arts takes courage.

I've been absolutely terrified every moment of my life - and I've never let it keep me from doing a single thing I wanted to do.

You get whatever accomplishment you are willing to declare.

It was in the 1920s, when nobody had time to reflect, that I saw a still-life painting with a flower that was perfectly exquisite, but so small you really could not appreciate it.

One can't paint New York as it is, but rather as it is felt.

One can not be an American by going about saying that one is an American. It is necessary to feel America, like America, love America and then work.

I had to create an equivalent for what I felt about what I was looking at - not copy it.

Nobody sees a flower really; it is so small. We haven't time, and to see takes time - like to have a friend takes time.

Anyone who doesn't feel the crosses simply doesn't get that country.

I decided that if I could paint that flower in a huge scale, you could not ignore its beauty.

The days you work are the best days.

I don't very much enjoy looking at paintings in general. I know too much about them. I take them apart.

I decided to start anew, to strip away what I had been taught.

I found I could say things with color and shapes that I couldn't say any other way - things I had no words for.

I feel there is something unexplored about woman that only a woman can explore.

Sun-bleached bones were most wonderful against the blue - that blue that will always be there as it is now after all man's destruction is finished.

Marks on paper are free - free speech - press - pictures all go together I suppose.

When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not.

I believe I would rather have Stieglitz like something - anything I had done - than anyone else I know.

I often painted fragments of things because it seemed to make my statement as well as or better than the whole could.

I often lay on that bench looking up into the tree, past the trunk and up into the branches. It was particularly fine at night with the stars above the tree.

I know now that most people are so closely concerned with themselves that they are not aware of their own individuality, I can see myself, and it has helped me to say what I want to say in paint.

I hate flowers - I paint them because they're cheaper than models and they don't move.

I found I could say things with color and shapes that I couldn't say any other way--things I had no words for.

War is killing the individual in it unless he has learned livingness if he had it he wouldnt be a good soldier.

If you take a flower in your hand and really look at it its your world for a moment.

Its not enough to be nice in life. Youve got to have nerve.

Interest is the most important thing in life; happiness is temporary, but interest is continuous.

Whether you succeed or not is irrelevant, there is no such thing. Making your unknown known is the important 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.