Language is much closer to film than painting is.
I'm old fashioned. I really think you should know how to draw before you start painting. I use charcoal and graphite; I put a skylight in. In my house, I turned the garage into an art studio. So I'm awash in art studios.
I've never made a movie to make money. I've never made a painting to make money.
Until film is just as easily accessible as a pen or pencil, then it's not completely an art form. In painting, you can just pick up a piece of chalk, a stick, or whatever. In sculpture, you can get a rock. Writing, you just need a pencil and paper. Film has been a very elitist medium. It costs so much money.
Writing has laws of perspective, of light and shade just as painting does, or music. If you are born knowing them, fine. If not, learn them. Then rearrange the rules to suit yourself.
The mere drawing and painting world of the pattern designer and the applied artist must become a world that builds again.
But, when I had this feeling and started painting sacred art, as I had this feeling to do, then it come to me: my problem is I'll get a lot of criticism and another problem is my work's not good enough to sell.
I see my studio like a laboratory, where I work like an investigator - it's almost forensic. I love the discovery process in painting.
A painting in a museum hears more ridiculous opinions than anything else in the world.
My painting teacher in high school used to say, 'I can't paint like I want to, but through practice I'll get better.' But I don't think that's true. I think sometimes you just can't paint.
It is not hard to understand modern art. If it hangs on a wall it's a painting, and if you can walk around it it's a sculpture.
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.
Every artist is supposed to get emotional. You're painting pictures of emotions.
I can very well do without God both in my life and in my painting, but I cannot, suffering as I am, do without something which is greater than I am, which is my life, the power to create.
You know, face painting in non-Western cultures is a sign of collectivism, is a sign of one representing the community, it's not unique at all.
And I like the idea of change. Because I don't see why we should hang a painting on the wall and then just not think of it anymore because it's there like a piece of furniture.
I want my paintings to look like they were found in a garage. If they get a scratch or a hole in them, it just becomes part of the painting.
One must act in painting as in life, directly.
Being in the studio is like painting, you know, you can really take your time, and try different things, and kind of go deep into it.
In the 1960s when the recording studio suddenly really took off as a tool, it was the kids from art school who knew how to use it, not the kids from music school. Music students were all stuck in the notion of music as performance, ephemeral. Whereas for art students, music as painting? They knew how to do that.
Every milieu has something ridiculous about it - film-making, the music world, painting - because people who take themselves seriously become funny pretty quickly.
Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again become great.
Doing the show was like painting the George Washington Bridge. As soon as you finished one end, you started right in on the other.
The world of painting has nothing to do with the art world.
I kind of do the drawing with the painting in mind, but it's very hard to guess at a size or a color and all the colors around it and what it will really look like.
Painting is a language which cannot be replaced by another language. I don't know what to say about what I paint, really.
In the West, we look at art through life. Well, that's one way of living. In the Orient they look at life through art. They even drink their tea without sugar, for the same reason that they don't like a lot of frilly decorations on a painting. I can't stand butter on my bread for the same reason. I'm allergic to goo and rococo.
In the middle 1940s... I heard everyone live. Painting, the theater; everything was happening. It was an exciting time when New York was the place to be.
I sometimes use a lot of light greens and greys when I feel there is sadness in the painting.
In a movie, you're raw material, just a hue of some color and the director makes the painting.
I'm working on a snow scene right now, and it's summer. It's hot, and I will get chilly. I'll have to turn on the heat. My wife walks in, and it's 95 degrees in the studio. I know it's nutty, but it's a projection you have where you step into the painting.
I don't think I can do this - painting under observation. It's the worst thing there is, worse than being in the hospital.
I love my painting - it fills me with passion. But it's not something I expect anyone else to love.
Ah, lives of men! When prosperous they glitter - Like a fair picture; when misfortune comes - A wet sponge at one blow has blurred the painting.
Painting, sculpture and architecture are finished, but the art habit continues.
A poet can feel free, in my estimation, to write a poem for himself. Or a painter can paint a painting for himself. You can write a short story for yourself. But for me, comedy by its nature is communal. If other people don't get it, I'm not sure why you are doing it.
