My characters have undergone the same process of simplification as the colors. Now that they have been simplified, they appear more human and alive than if they had been represented in all their details.

The works must be conceived with fire in the soul but executed with clinical coolness.

Throughout the time in which I am working on a canvas I can feel how I am beginning to love it, with that love which is born of slow comprehension.

What I am looking for... is an immobile movement, something which would be the equivalent of what is called the eloquence of silence, or what St. John of the Cross, I think it was, described with the term 'mute music'.

My characters have undergone the same process of simplification as the colors. Now that they have been simplified, they appear more human and alive than if they had been represented in all their details.

I try to apply colors like words that shape poems, like notes that shape music.

For me an object is something living. This cigarette or this box of matches contains a secret life much more intense than that of certain human beings.

I feel the need of attaining the maximum of intensity with the minimum of means. It is this which has led me to give my painting a character of even greater bareness.

You can look at a picture for a week and never think of it again. You can also look at the picture for a second and think of it all your life.

I knew exactly what I was, and there was no hang-up with me. None whatsoever. The fact that the pigment of my skin maybe being lighter brown than other people of my race, maybe some of them, but you know our race has all colors.

I think it's time to do clean-up for a generation. I believe this is one of the movies that hits home for all colors and all races. Everybody I talk to, black or white, suburban, rich or poor, can relate to rejection, can relate to not having a father or a mother.

There are infinite shadings of light and shadows and colors... it's an extraordinarily subtle language. Figuring out how to speak that language is a lifetime job.

Light in Nature creates the movement of colors.

The colors I choose there was to paint the first hotel, the Disneyland Hotel. Because of the cloudy sky we had in Paris, it had to be a particular kind of color who will fight those grey days. And also something you can see when you're driving up 'There it is! We're arriving!'

Lots of colors appear when you're working with other people.

What a privilege to be here on the planet to contribute your unique donation to humankind. Each face in the rainbow of colors that populate our world is precious and special.

Programmers and marketing people know how to get into your subconscious - they spend millions of dollars researching colors, shapes, designs, symbols, that affect your preferences, and they can make you feel warm, trusting, like buying. They can manipulate you.

Sixteen million colors in your palette are hard for any artist, especially a beginner, to turn down.

I've got no respect for any young man who won't join the colors.

The mind is like a richly woven tapestry in which the colors are distilled from the experiences of the senses, and the design drawn from the convolutions of the intellect.

It's ok to show all your colors.

Many a dangerous temptation comes to us in fine gay colors that are but skin-deep.

A hundred things are done today in the divine name of Youth, that if they showed their true colors would be seen by rights to belong rather to old age.

I am just learning to notice the different colors of the stars, and already begin to have a new enjoyment.

You don't want a million answers as much as you want a few forever questions. The questions are diamonds you hold in the light. Study a lifetime and you see different colors from the same jewel.

Twilight is about getting older and relationships - not about a murder mystery. It's about love when you reach a certain age; nothing is in primary colors.

Some colors reconcile themselves to one another, others just clash.

They that are against superstition oftentimes run into it of the wrong side. If I wear all colors but black, then I am superstitious in not wearing black.

In Torch Song, I did that character almost non-stop from 1978 until I made the movie in 1987. Then I had some failure, which also colors how you react to doing other things.

Every time I get a script it's a matter of trying to know what I could do with it. I see colors, imagery. It has to have a smell. It's like falling in love. You can't give a reason why.

The makeup is simply an extension of the personality and colors, clothing, makeup all express something.

I've tried everything. I've done therapy, I've done colonics. I went to a psychic who had me running around town buying pieces of ribbon to fill the colors in my aura. Did the Prozac thing.

Any ground subtracts its own hue from the colors which it carries and therefore influences.

But what is of great importance to me is observation of the movement of colors.

A lot of the American press at the time was saying 'just watch what happens when Bertelsmann tries to buy EMI, that will be a moment of truth that will show the Commission's true colors.' Well, that deal never happened either.

White is actually one of my favorite colors. I have a white car. I love white.

It's really easy to get colors right. It's really hard to get black - and neutrals - right. Black is certainly a color but it's also an illusion.

God's colors all are fast.

The art of an artist must be his own art. It is... always a continuous chain of little inventions, little technical discoveries of one's own, in one's relation to the tool, the material and the colors.

There are lighter colors of granite and I like to break the rules.

I then realized that I could never be satisfied again with the mere natural charm of my voice, that I had to constantly paint when singing, melting all the colors, expressing reds and blacks that had to be less primary but bursting with subtly colored combinations.

Novel writing should never be confused with journalism. Unfortunately, in the case of Primary Colors, a fair number of journalists confused.

You must try to match your colors as nearly as you can to those you see before you, and you must study the effects of light and shade on nature's own hues and tints.

The beggar wears all colors fearing none.

We've achieved this feeling, for instance, with the colors. The colors in the park are harmonious with each other, not like in big cities where they don't.

I did some pastels and I did other pieces in which there was just basically one color per square, and then they would get bigger and I could get 2 or 3 colors into the square, and ultimately I just started making oil paintings.

Knowing how to paint and to use one's colors rightly has not any connection with originality. This originality consists in properly expressing your own impressions.

In my experience a painting is not made with colors and paint at all. I don't know what a painting is; who knows what sets off even the desire to paint?

Color is a very critical thing. I've found that architects don't like colors. Engineers too. And so somebody has to stand in. Because this is the finish of it. It is the emotional part of a structure. I had great satisfaction in doing that.