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I don't work from drawings. I don't make sketches and drawings and color sketches into a final painting.
Music - so different from painting - is the art which we enjoy most in company with others. A symphony, presented in a room with one other listener, would please him but little.
The pictures I contemplate painting would constitute a halfway state and attempt to point out the direction of the future - without arriving there completely
I had another dream the other day about music critics. They were small and rodent-like with padlocked ears, as if they had stepped out of a painting by Goya.
Painting with all its technicalities, difficulties, and peculiar ends, is nothing but a noble and expressive language, invaluable as the vehicle of thought, but by itself nothing.
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 always have a good reason for taking something out but I never have one for putting something in. And I don't want to, because that means that the picture is being painted predigested.
I still have a lot of pleasure doing them, but as time goes by I come to appreciate more clearly which paintings are good and which should be discarded.
There are only four great arts: music, painting, sculpture, and ornamental pastry- architecture being perhaps the least banal derivative of the latter.
I still have agents in France, Los Angeles and Amsterdam who call and suggest parts. I'd love to keep on doing both painting and acting until the end of my days.
The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.
T.V. has made going to the theatre seem pointless, photography has pretty much killed painting but graffiti has remained gloriously unspoilt by progress.
The freedom he gave himself to work and change shape and change ideas and work all the time with joy, the joy of painting was in [Publo] Picasso, which I found beautiful.
Everything has a reason, including the selection of the photos, which was not arbitrary but appropriate to the period, its highs and lows and my sense of them.
But when I started writing songs, I stopped painting completely, and the only art things I do are connected to the career, like album sleeves and, to some extent, posters and things like that.