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Paint with whatever material you please - with pipes, postage stamps, postcards or playing cards, painted paper, or newspapers.
First I have tried to achieve the highest quality of technical facility possible so that I have at my fingertips the availability to create anything I want. Then I paint.
We would sift through every inch of what it was that worked, or if it didn't, and wonder what was effective in it, in terms of paint, the subject matter, the size, the drawing.
And also the new excitement and variety of ways that the abstract expressionists were applying paint. You could put it on as though it were colored air and it would be painting.
I want to paint the air in which the bridge, the house and the boat are to be found - the beauty of the air around them, and that is nothing less than the impossible.
Body cameras help to record what happens. It may not be the golden ticket, the golden egg, the end-all-fix-all, but it helps to paint a picture of what happens during a police stop.
It is for the artist... in portrait painting to put on canvas something more than the face the model wears for that one day; to paint the man, in short, as well as his features.
A student of James McNeill Whistler tells the great artist, 'I tend to paint what I see.' Whistler replies, 'Ah! The shock will come when you see what you paint!
If I'm interrupted, it's just a minor inconvenience, but not a disaster, because it's easy to get back where I was: that is, the paint has not changed consistency; the light has not moved.
Characterization is not divorced from plot, not a coat of paint you slap on after the structure of events is already built. Rather characterization is inseparable from plot.
I'm just a landscape painter. I look out the window and I see what's going on, and I paint it. While I'm painting it, I also write thoughts about what I see going on out there.
You're making a movie, not a documentary. If you made a film like the historians would like you to make, you're not going to go and see it. I'd rather see paint dry.
Getting to share a project with Anthony Hopkins is incredible. It's like watching Da Vinci paint or something - you're reminded why you do what you do.
I can't understand how anyone is able to paint without optimism. Despite the general pessimistic attitude in the world today, I am nothing but an optimist.
Wanting to be understood by an audience that didn't know Russian, I tried to paint musical pictures by emphasizing the phrasing, using voice color more boldly, and varying the shade and nuance.
Art doesn't begin with a brush and a palette, but with the artist's ability to perceive life. You have to learn how to live before you can learn how to paint.
Life is a cutup. And to pretend that you write or paint in a timeless vacuum is just simply . . . not . . . true, not in accord with the facts of human perception.