I'm vulnerable to criticism. Any artist is, because you work alone in your studio and, until recently, critics were the only way you'd get any feedback.

I don't really have a historical overview of my work at all. I'm not an art historian. I don't see that there's this period and that period.

I find old copies of National Gallery catalogues, which are written in the dryest possible prose, infinitely soothing.

In England, it's thought to be morally suspect to worry about what your surroundings look like.

I look at my pictures, and I think, 'Well, how did I do that?'

I don't think you can lightly paint a picture. It's an activity I take very seriously.

I fell through a crack for years. Historically, I am a nothing because I fit in no category. I can only be me.

Collecting has been my great extravagance. It's a way of being. I collect for the same reason that I eat too much-I'm one of nature's shoppers.

My friends tend to be writers. I think writers and painters are really all the same-we just sit in our rooms.

When I finish a painting, it usually looks as surprising to me as to anyone else.

I think that words are often extraneous to what I do.

I once was interviewed and got so exasperated that I said, 'What do you want, a shopping list?' They kept asking, 'What's in this picture?'

Matisse was very clear about saying that you have to blow your own trumpet and explain yourself, which I think has been slightly forgotten.

I'm vulnerable to criticism. Any artist is, because you work alone in your studio and, until recently, critics were the only way you'd get any feedback.

A painting is finished when the subject comes back, when what has caused the painting to be made comes back as an object.

I'm very envious of the few artists who are any good and still do portraits.

I want my pictures to be things. I want them to be made up of marks that are physically and individually self-sufficient.

I think words come between the spectator and the picture.

The picture surface recedes just as much in the 20th century as it did in the 15th. The techniques of making pictures have hardly changed.

A collection makes its own demands. Many artists have been collectors. I think of it rather as an illness. I felt it was using up too much energy.

I hate painting.

I don't look at the work of my contemporaries very much; I tend to look at pictures by dead artists. It's much easier to get near their paintings.

You keep on balancing and balancing and balancing until the picture wins, because then the subject's turned into the picture.

In the United States there has been a kind of a structure in the Modern art world. The New York School was nearly a coherent thing-for a minute.

I am happy for people to talk about my pictures, but I wish devoutly that I was not expected to talk about them myself.

My language is what I use, and if I lost that, I wouldn't be able to say anything.

I am isolated as an artist, not as a person.

Being a cover artist is not like being a real artist. That's just copying what someone else did.

The artist need not know very much; best of all let him work instinctively and paint as naturally as he breathes or walks.

What an artist learns matters little. What he himself discovers has a real worth for him, and gives him the necessary incitement to work.

Beauty, like truth, is relative to the time when one lives and to the individual who can grasp it. The expression of beauty is in direct ratio to the power of conception the artist has acquired.

I'm inspired by nature. Other artist's work is important for developing my perception.

There is only one position for an artist anywhere; and that is upright.

The difference between a bad artist and a good one is: the bad artist seems to copy a great deal; the good one really does.

To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.

What do you say when someone has truly inspired you? How do you express to an artist how deeply their work has affected you?

An original artist is unable to copy. So he has only to copy in order to be original.

When I say artist I mean the man who is building things - creating molding the earth - whether it be the plains of the west - or the iron ore of Penn. It's all a big game of construction - some with a brush - some with a shovel - some choose a pen.

You have to find what makes you stable in the storm. Then, no matter what's happening round you, no matter what the hype or the publicity, you can still manage to make leaps in your work as an artist.

The key to the mystery of a great artist is that for reasons unknown, he will give away his energies and his life just to make sure that one note follows another... and leaves us with the feeling that something is right in the world.

I've always felt that if one was going to take seriously this vocation as an artist, you have to get beyond that decorative facade.

Art is a private thing, the artist makes it for himself; a comprehensible work is the product of a journalist. We need works that are strong, straight, precise, and forever beyond understanding.

The most colorful section of a bookstore is the display of SF books, with art by people like Wayne Barlow, who is a terrific artist.

Arguably, no artist grows up: If he sheds the perceptions of childhood, he ceases being an artist.

Let not a man do what his sense of right bids him not to do, nor desire what it forbids him to desire. This is sufficient. The skillful artist will not alter his measures for the sake of a stupid workman.

I so much appreciate it when anybody tries to make something and tries to be an artist - I'm happy to see the work.

The artist is seen like a producer of commodities, like a factory that turns our refrigerators.

I've also been willing to share any help that I could give to any other artist.

An artist, under pain of oblivion, must have confidence in himself, and listen only to his real master: Nature.