I love painters because I don't paint, so I get to enjoy art; I like collecting paintings.
Modern art is what happens when painters stop looking at girls and persuade themselves that they have a better idea.
The cult of individuality and personality, which promotes painters and poets only to promote itself, is really a business. The greater the 'genius' of the personage, the greater the profit.
Today painters do not have to go to a subject matter outside of themselves. Most modern painters work from a different source. They work from within.
I was influenced by Ray Harryhausen and Lotte Reiniger, with her twitchy, cutout animation, which I happened to see at a very young age, but also by the Warner Bros. cartoons, 'Tom and Jerry,' and of course Disney. And also by Fellini's 'Giulietta of the Spirits' and Kurosawa's 'Ran.' And by other American illustrators and painters.
It is this research into pure painting that is the problem at the present moment. I do not know any painters in Paris who are really searching for this ideal world.
Now almost every artist outside of New York is connected with some school or some museum school, and even in New York the majority are. That's an interesting fact when you take the idea of making money, making a living selling paintings. Only a dozen or two painters do that.
Everyone gets a pencil as a kid, but it doesn't make them all authors or painters or drawers or anything else.
I'm not, by nature, a collaborator. My biggest influences were people like painters and poets. These are solitary workers.
Real painters understand with a brush in their hand.
I had always loved Haitian art, but I stumbled onto Haiti quite by accident. I went there on vacation after finishing a movie called 'The Delta Factor,' and I met lot of painters and fell in love with their folk art.
Painters hate having to explain what their work is about. They always say, 'It's whatever you want it to be' - because I think that's their intention, to connect with each person's subconscious, and not to try and dictate.
I'm very happy to hear that my work inspires writers and painters. It's the most beautiful compliment, the greatest reward. Art should always be an exchange.
The men resent a woman getting any honour in what they consider is essentially their field. Men painters mostly despise women painters. So I have decided to stop squirming, to throw any honour in with Canada and women.
Many Japanese painters and calligraphers would change their names intentionally to keep their relationship to the art always fresh. This way, others' expectations can be avoided.
Artists - musicians, painters, writers, poets - always seem to have had the most accurate perception of what is really going on around them, not the official version or the popular perception of contemporary life.
I think that most people think painters are kind of ridiculous, you know?
My office looks very empty compared with my house. The house is completely crammed full with things that Patrick and I love. It's very eclectic. There are things that have no value but which we like. We have a lot of Belgian painters; we have international painters. We have nice things; we have ugly things. I don't want that things are predictable.
Architects, sculptors painters, we all must return to the crafts! For art is not a 'profession.' There is no essential difference between the artist and the craftsman. The artist is an exalted craftsman.
Good art theory must smell of the studio, although its language should differ from the household talk of painters and sculptors.
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.
It's the duty of all novelists, all painters, all musicians, all people who try to make art move: to look for something they feel authentically, without paying attention to styles.
Writers and painters alike are in the business of consulting their own imaginations, and stimulating the imaginations of others. Together, and separately, they celebrate the absolute mystery of otherness.
I should like to present myself to the young painters of the year 2000 with the wings of a butterfly.
I've been trekking the hills and lanes of the British countryside for nearly four decades now and I've come to associate my passion with overexcited poets rather than pampered painters.
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.
Historically, the women who have been the great painters of the canon have very often have been the wives or daughters of supportive men. Like Artemisia, whose father was a very established painter. I will say that the two current contemporary artists I admire the most are women: Kara Walker and Swoon.
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 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.
David is purely a conceptual artist. He didn't play any instruments or paint or anything. We were painters.
Painters aren't expected to paint bleak pictures, are they?
In chess, computers show that what we call 'strategy' is reducible to tactics, ultimately. It only looks creative to us. They are still just glorified cash registers. This should make us feel uncomfortable, whether or not we think computers will ever be good composers of music or artistic painters.
A lot of painters listen to music, I think, while they paint. But I hate to do that. It's a horror. I can't really listen to the music. I'm not really concentrating on it, and I'm not really concentrating on the painting.
How are we going to make painters by lecturing to them? We are going to make questioners, doubters, and talkers. We are going to make painters by painting ourselves, and by showing the paintings of others. By working frankly from our convictions, we are going to make them work frankly from theirs.
Two of my grandfathers had been artists, lifelong oil painters, so I was exposed to art very young. I've always been interested in it, although I never pursued it as a career or even as an avocation.
We are all sculptors and painters, and our material is our own flesh and blood and bones. Any nobleness begins at once to refine a man's features, any meanness or sensuality to imbrute them.
