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Art, if it is successful in the task of questioning reality, if it is good painting and not merely a performance of dexterity, will be an affirmation of God.
My app is the same juicy paint used by Vincent Van Gogh; my screen is the woven canvas of Titian. Painting by hand, I've come to figure, is a certain kind of love.
Burn shavings and splinters of pitch pine, and when they turn to charcoal, put them out, and pound them into mortar with size. This will make a pretty black for fresco painting.
Every milieu has something ridiculous about it - film-making, the music world, painting - because people who take themselves seriously become funny pretty quickly.
I do have great respect for painting, but I am definitely not a painter. I make drawings of paintings, and I'm jealous of painting for sure, but, for me, the paper gives my work a limit.
Representational painters: loosen the grip of inflexibility! Abstract painters: tighten your hold on crafting your images! In both types of painting students need to unlearn what one has acquired.
With all its variety and liveliness, color acts in the work of art as blood does as it circulates through our bodies. Color is what keeps the painting alive and moving.
I use those expectations as a color on my palette, a certain temperature in the room. You can use those expectations for the great punchline, but also for a great painting, in society.
Subject matter does not determine a successful painting. It is the manner in which one personally envisions and interprets the subject that is the magical equation.
In my opinion painting should be considered excellent in proportion as it approaches the effect of relief, while relief should be considered bad in proportion as it approaches the effect of painting.
When I was in art college, I would be painting, and I would create something on a canvas that was actually quite attractive. But if I got frightened and tried to protect that, that canvas would die.
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.
Leaving some areas less finished in a painting, or more out of focus than others, allows the imagination to finish them and gives more importance to the detailed parts.
I started with straight, basic, symbolic structures. My problem now is the opposite; as I get older, I try to make my paintings more contrapuntal, richer.
Painting is concerned with the ten things you can see: these are darkness and brightness, substance and color, form and place, remoteness and nearness, movement and rest.
A man that has a taste of music, painting, or architecture, is like one that has another sense, when compared with such as have no relish of those arts
I hope, too, that my book will illuminate my belief that love of art - be it poetry, storytelling, painting, sculpture, or music - enables people to transcend any barrier man has yet devised.
My palette contains a warm and cool of each primary, plus four modifiers: Yellow Ochre, Burnt Sienna, Blue-Violet and Phthalo Yellow-Green just mix as I go for each painting.