He drove his kind of realism at me so hard I bounced right into nonobjective painting.
When I was in high school, I thought I might be an artist. I was very good at drawing and painting.
People look at film in a gallery, and if they walk out after two minutes they know they haven't seen the whole work. But then people look at a painting for two minutes and think they've seen it. Certain paintings are made to be consumed fast. But some require a slowed-down time. You have to go back to them.
More and more, as I grow older, I find myself looking for inspiration in painting, illustration, videogames, and old movies.
Abstract painting is abstract. It confronts you. There was a reviewer a while back who wrote that my pictures didn't have any beginning or any end. He didn't mean it as a compliment, but it was.
I liked sculpting better than painting. You have more freedom in sculpting.
I enjoy painting. It's an incredible release of tension, and I feel very excited doing it. I squeeze out some wonderful red paint, and I get a thrill. My heart starts beating faster. It's almost a sensual thing working with these thick acrylic paints. I almost want to put my hands in.
The first painting I remember selling was 'Panthera.' I made it while I was in residence at the Studio Museum in Harlem, and the museum actually purchased it directly from me.
I want to die painting.
Everything I do, it's a bit painterly. I like being surrounded by objects, mostly on paper. I like the images. I like the painting. I like good photography. It's something that makes me an emotional connection, and I feel comfortable around it.
Technically, a makeup artist's canvas is the face and body. The difference is that my painting of makeup is integrated into the painting of the flesh and not on top of it. I think in some ways it is more difficult to expressively deploy makeup.
There's nothing worse than sleeping in makeup. You wake up looking like a painting that's been left out in a rainstorm.
Painting picture by picture, I followed the impressions my eye took in at heightened moments. I painted only memories, adding nothing, no details that I did not see. Hence the simplicity of the paintings, their emptiness.
I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.
Painting is a nail to which I fasten my ideas.
I love painting so much that nothing else matters.
To the humblest among them, who may be listening to me now, I want to say that the masterpiece to which you are paying historic homage this evening is a painting which he has saved.
You can't work in the movies. Movies are all about lighting. Very few filmmakers will concentrate on the story. You get very little rehearsal time, so anything you do onscreen is a kind of speed painting.
My aim in painting is to create pulsating, luminous, and open surfaces that emanate a mystic light, in accordance with my deepest insight into the experience of life and nature.
I was the youngest of four kids, and Dad, who had a garden centre before he retired, came from a large Lancashire family. Every one of my uncles had their own business, including a post office, two fish and chip shops and a painting and decorating business.
People whose understanding and taste in literature, painting, and music are beyond question are, for the most part, ignorant of what is good or bad art in the theater.
As a kid, there was a painting of 'Appeal to the Great Spirit' that I would see when I would get oatmeal bowls out of the cupboard. This painting, it was so real to me that it frightened me.
Some people like to paint trees. I like to paint love. I find it more meaningful than painting trees.
'Art or anti-art?' was the question I asked when I returned from Munich in 1912 and decided to abandon pure painting or painting for its own sake. I thought of introducing elements alien to painting as the only way out of a pictorial and chromatic dead end.
Yes, you know sometimes, we started out thinking out how strange our painting was next to normal painting, which was anything expressionist. You forget that this has been thirty five years now and people don't look at it as if it were some kind of oddity.
Everybody thinks they know what art should be. But very few of them have the sense that is necessary to experience painting, that is the sense of sight, that sees colors and forms as living reality in the picture.
My parents felt that acting was far too insecure. Don't ask me what made them think that painting would be more secure.
I do see myself as the heir to a vast, great, rich culture of painting - of art in general - which we have lost, but which places obligations on us.
At the point where I'm trying to force something and it's not happening, and I'm getting frustrated with, say, writing a poem, I can go and pick up the brushes and start painting. At the point where the painting seems to not be going anywhere, I go and pick up the guitar.
There are certain things in which mediocrity is not to be endured, such as poetry, music, painting, public speaking.
If you think about art, if you look at Rembrandt and Vermeer and Caravaggio, if you look at Turner and Constable and all the Impressionists and the Hudson River School, there's a tradition of light in art, especially painting.
I like films that probe emotional questions and inspire you to get creative and get writing, get draping, painting, cooking, whatever that thing is where you have that kind of output.
And since geometry is the right foundation of all painting, I have decided to teach its rudiments and principles to all youngsters eager for art.
Not that painting would have been a release. The reason for doing it is the desire to create. I've got to do it! I've seen that, I can still remember it, I've got to paint it.
I want to give my compliments to Australia. Ever since your government paid a few million dollars for a Jackson Pollack painting, I figure that it must be a marvellous country.
Painting and sculpture are very archaic forms. It's the only thing left in our industrial society where an individual alone can make something with not just his own hands, but brains, imagination, heart maybe.