I'm just really impressed by oil paintings - I don't see how people do it! That's the style I like: classic oil paintings. Abstract art just isn't my thing.
Poor Georgia O'Keeffe. Death didn't soften the opinions of the art world toward her paintings.
I had rather see the portrait of a dog that I know, than all the allegorical paintings they can show me in the world.
My paintings do not have a center, but depend on the same amount of interest throughout.
I stopped painting in 1990 at the peak of my success just to deny people my beautiful paintings, and I did it out of spite.
The paintings by Van Gough and Chagall had a big influence on me.
I don't very much enjoy looking at paintings in general. I know too much about them. I take them apart.
My mother is a great artist, but she always treated her paintings like minor postcards. Had she pursued it, she would have been a great artist. Instead, she looked down on her art.
I have been surrounded by artists and paintings throughout my life. My father Ted Dyer is an artist, and from a very early age I have spent time painting and drawing.
No amounts of stone and bone could yield the kinds of information that the paintings gave so freely.
I am inspired by life, past experiences, what's to come, women around me, art, colors, paintings, and emotions.
I am obsessed with the painter Jonas Wood, but I don't think I'll ever be able to afford one of his paintings. He's an L.A.-based painter; his stuff is incredible.
My parents are avid consumers of art, collectors of African American paintings, and have always gone to the theater. My mother has always been an activist, too. As long as I can remember, we were marching in lines.
Not everybody trusts paintings but people believe photographs.
The history of American art, in a way, begins with Jackson Pollock and his big paintings. This theme of bigness - all painters and sculptors have dealt with it ever since.
That by listening to some music, by reading some books, by looking at paintings, and most important by hanging out with one another - by collaborating with one another and creating your own network - you can achieve something that is much better than what is out there.
I am a great lover of art, in many forms: paintings, objets, textiles. I don't have the talent for painting, but I have a very good sense of colour, a love of visual beauty.
Poetry offers works of art that are beautiful, like paintings, which are my second favorite work of the art, but there are also works of art that embody emotion and that are kind of school for feeling. They teach how to feel, and they do this by the means of their beauty of language.
Restorers of paintings and pottery follow a code of conduct in their work to distinguish the original material from what they are adding later.
One of my favorite paintings I've done happened after I broke up with a boyfriend.
I think that the mythology of Van Gogh's life, and the beauty of his paintings, is unstoppable.
My art originates from hallucinations only I can see. I translate the hallucinations and obsessional images that plague me into sculptures and paintings.
When the modern movement began, starting perhaps with the paintings of Manet and the poetry of Baudelaire and Rimbaud, what distinguished the modern movement was the enormous honesty that writers, painters and playwrights displayed about themselves. The bourgeois novel flinches from such notions.
A museum should not just be a place for fancy paintings but should be a place where we can communicate our lives through our everyday objects.
After 1909, Monet drastically enlarged his brushstrokes, disintegrated his images, and broke through the taming constraints and delicacy of Impressionism for good. Nineteen gnarly paintings, starting in 1909 and carrying through his final seventeen years, finish off the notion that Monet went happily ever after into lily-land.
I was shocked when I heard that Farghadani had been sentenced to 12 years and nine months in prison on spurious charges, as Amnesty International notes, of 'spreading propaganda against the system,' 'insulting members of the parliament through paintings' and 'insulting the Supreme Leader' with her cartoon.
I do real paintings, you know. I'm a little messy in the studio, so I'm a bit of a danger. But I just adore it.
I thought art was dead rabbits hanging by their feet on a wall. I went to Italy and saw all the religious paintings, and they didn't move me all that much. Then someone invited me to see this van Gogh exhibit at the Rosenberg Gallery in San Francisco.
I saw Frank Frazetta's art, and it seared on my memory. I love his paintings. They're so amazing.
It is not your paintings I like, it is your painting.
When I was about seven, one or two people encouraged me, and art became an enormous and important refuge. By adolescence, I was absolutely passionate about it and felt those paintings and those painters, whether they lived a few hundred years ago or were still alive, were somehow my companions.
The narrative oftentimes is that everything that comes out of the hood is 'real,' and so I thought, 'I'll base it on the absurd, the not real. I'll twist the idea of real on its head and see if I can get away with it. I'll make paintings that come not from a place but through an abstract gaze.'
The spot paintings and spin paintings were trying to find mechanical ways to make paintings.
The need to make music, and to listen to it, is universally expressed by human beings. I cannot imagine, even in our most primitive times, the emergence of talented painters to make cave paintings without there having been, near at hand, equally creative people making song. It is, like speech, a dominant aspect of human biology.
I get creeped out by Francis Bacon's paintings, and I can't say exactly why. They're all really disturbing, and there is an almost nimbus-like quality behind some of his frightening characters and stuff.
The value of writing about art is its effect on the imagination. Paintings allow us to inhabit another culture, place, and time period, and address the issues of those time periods that resonate with our own time.
