I am only interested in painting the actual person, in doing a painting of them, not in using them to some ulterior end of art. For me, to use someone doing something not native to them would be wrong.

Since the model he so faithfully copies is not going to be hung up next to the picture... it is of no interest whether it is an accurate copy of the model.

The longer you look at an object, the more abstract it becomes, and, ironically, the more real.

A painter must think of everything he sees as being there entirely for his own use and pleasure.

As far as I am concerned the paint is the person. I want it to work for me just as flesh does.

The aura given out by a person or object is as much a part of them as their flesh.

I want paint to work as flesh.

I remember Francis Bacon would say that he felt he was giving art what he thought it previously lacked. With me, it's what Yeats called the fascination with what's difficult. I'm only trying to do what I can't do.

My work is purely autobiographical... It is about myself and my surroundings.

The character of the artist doesn't enter into the nature of the art.

Painting is sometimes like those recipes where you do all manner of elaborate things to a duck, and then end up putting it on one side and only using the skin.

Whether it will convince or not, depends entirely on what it is in itself, what is there to be seen.

I am only interested in painting the actual person, in doing a painting of them, not in using them to some ulterior end of art. For me, to use someone doing something not native to them would be wrong.

There is a distinction between fact and truth. Truth has an element of revelation about it. If something is true, it does more than strike one as merely being so.

I would wish my portraits to be of the people, not like them. Not having a look of the sitter, being them.

The painter's obsession with his subject is all that he needs to drive him to work.

I paint people not because of what they are like, not exactly in spite of what they are like, but how they happen to be.

Now that I know what I want, I don't have to hold on to it quite so much.

The picture is all he feels about it, all he thinks worth preserving of it, all he invests it with. If all the qualities which a painter took from the model for his picture were really taken, no person could be painted twice.

And, since the model he faithfully copies is not going to be hung up next to the picture, since the picture is going to be there on its own, it is of no interest whether it is an accurate copy of the model.

The paintings that really excite me have an erotic element or side to them irrespective of subject matter.

A painter's tastes must grow out of what so obsesses him in life that he never has to ask himself what it is suitable for him to do in art.

The model should only serve the very private function for the painter of providing the starting point for his excitement.

The painter must give a completely free rein to any feeling or sensations he may have and reject nothing to which he is naturally drawn.

When I look at a body it gives me choice of what to put in a painting, what will suit me and what won't.

Full, saturated colours have an emotional significance I want to avoid.

I never think about my style but just try and make the pictures look believable.

You ask why I'm fascinated by the human figure? As a human animal, I am interested in some of my fellow animals: in their minds and bodies.

Art teaches nothing, except the significance of life.

The principal rule of art is to please and to move. All the other rules were created to achieve this first one.

I grew up with art from the innocent age of ten - with art, but with no sense of identity.

One does not devote one's life in art to shock an audience.

The other great development has been in photography, but that too was influenced by Conceptual art.

My art became very public.

Riding a race bike is an art - a thing that you do because you feel something inside.

The idea is, if I can't heal from my art, then how can you heal?

But in the finished art of the song the use of words has no connection with the use of words in poetry.

One does not need buildings, money, power, or status to practice the Art of Peace. Heaven is right where you are standing, and that is the place to train.

I don't believe in art. I believe in artists.

Art cannot be modern. Art is primordially eternal.

Without art, the crudeness of reality would make the world unbearable.

We have often been attracted to the story of the other, the outcast. And he and I just loved working together, so it just kept happening, and our relationship is completely bound up with our work. We enjoy each other's art.

Where the spirit does not work with the hand, there is no art.

It is veneer, rouge, aestheticism, art museums, new theaters, etc. that make America impotent. The good things are football, kindness, and jazz bands.

At the University of Maryland, my first year I started off planning to major in art because I was interested in theatre design, stage design or television design.

Art is an expression of who you are. Parts that I play are my sculptures.

There has always been quite a strong black and white art tradition in Australia, with quite a large contingent of cartoonists, given the size of the population.

There is probably nothing wrong with art for art's sake if we take the phrase seriously, and not take it to mean the kind of poetry written in England forty years ago.

A man who exposes himself when he is intoxicated, has not the art of getting drunk.