Painting Quotes

500+ Sourced quotes

Since geometry is the right foundation of all painting, I have decided to teach its rudiments and principles to all youngsters eager for art.

Albrecht Dürer

Any time I make a record it's followed by a painting period. It's good crop rotation.

For the historian everything begins and ends with time, a mathematical, godlike
time, a notion easily mocked, time external to men, 'exogenous,' as economists
would say, pushing men, forcing them, and painting their own individual times
the same color: it is, indeed, the imperious time of the world.

Fernand Braudel

She was the most beautiful thing you ever saw. She was radiant. And she was wearing this necklace... When you see the necklace in the painting, it all makes sense. He loved her. Even if she lived to one hundred and five without ever getting an answer.

Sophie Kinsella

Painting, literature, music, are more closely allied than the public usually admit. They are merely different means of expression.

The Brahmacharis as the most difficult thing she had ever done.... don't you think I have learnt something from Indian painting?... I don't know whether it is a passing phase or a durable change in my outlook but I see in a more detached manner, more ironically than I have ever done.

Amrita Sher-Gil

I have attempted to develop my thinking in such a way that the work I've done is not me – not to confuse my feelings with what I produced. I didn't want my work to be an exposure of my feelings. Abstract Expressionism was so lively – personal identity and painting were more or less the same, and I tried to operate the same way. But I found I couldn't do anything that would be identical with my feelings. So I worked in such a way that I could say that it's not me. That accounts for the separation.

The element of heroic maleness had always been present in the concept of the artist as one who rides the winged horse above the clouds beyond the sight of lesser men, a concept seldom applied to those who worked with colours until the nineteenth century. When the inevitable question is asked, "Why are there no great women artists?" it is this dimension of art that is implied. The askers know little of art, but they know the seven wonders of the painting world.

The principal element of Suprematism in painting, as in architecture, is its liberation from all social or materialist tendencies. Through Suprematism, art comes into its pure and unpolluted form. It has acknowledged the decisive fact of the nonobjective character of sensibility. It is no longer concerned with illusion.

Kazimir Malevich

That, by the accident of an illegality in the codicil to his will, it should have been possible for Hugh Lane's pet collection to be snaffled by the British Government, is a fitting conclusion to the shabby story of England's appreciation of French impressionist painting.

Oil painting and color, said Michelangelo, are for women and the lazy. His sharp-edged Apollonian style is the only way to beat back mother nature.

Kandinsky points out [in his book On the Spiritual in Art] that Theosophy (in its true sense; not as it generally appears) is yet another expression of the same spiritual movement which we are now seeing in painting.

I met him [Gorky] in 1929. Of course I met a lot of artists, but then I met Gorky. Well I had some training in Holland, quite a training, you know, The Academy. And then I met Gorky [in New York], who didn't have that at all, he became from no place [Tiflis, Armenia]... And for some mysterious reason, he knew lots more about painting, and art, he just knew it by nature - things I was supposed to know and feel and understand - he really did it better. He had an extraordinary gift for hitting the nail on the head, very remarkable, so I immediately attached myself to him and we became very good friends.

Willem de Kooning

The problem which Mondrian undertook to solve in nr. 116 [a new painting of Mondrian, exhibited in a group-exhibition in the Stedelijk Museum in 1915 in Amsterdam] was handled very successfully. This work spiritually dominates all others. It gives the impression of Repose; the repose of the soul. Its pre-determined structure embodies 'becoming' rather than 'being'. This represents a true element in art, for art is not 'being', but 'becoming'. The idea of 'becoming' has been expressed in black and white.... Through years of hard work my own experiences have led me, before I came to know the theories of Uexkuell or Picasso, to prefer the use of the white-black-grey palette in works of a purely spiritual content...

Theo van Doesburg

The ability and the desire to transmit knowhow, intention, and insight to others around us have co-evolved with humanity itself. Mixed reality is a huge milestone in that human project of record keeping, perspective sharing, empathising, and merging with the 'other', a project that began with the first cave painting, or even earlier.

There are only four great arts: music, painting, sculpture, and ornamental pastry — architecture being perhaps the least banal derivative of the latter.

Painting.... turned to the design of purely abstract volumetric forms... Since the leading exponent of the color theory was a painter (Malevich), he failed to recognize the objective reality of the world [in architecture!]. Because he always looked at it only through his own eyes, he remained trapped in a world devoid of real objects. The broader implications of this had to be developed by us, the architects.

We're all so clogged with dead ideas
passed from generation to generation
that even the best of us don't know the way out
We invented the Revolution
but we don't know how to run it
Look everyone wants to keep something from the past
a souvenir of the old regime
This man decides to keep a painting
This one keeps his mistress
He [pointing] keeps his garden
He [pointing] keeps his estate
He keeps his country house
He keeps his factories
This man couldn't part with his shipyards
This one kept his army
and that one keeps his king

My working hours are not that conventional. I often get up about two in the morning and do a painting, and then I'll have a bath, and then I often feel very hungry around 4am, so I'll go into Soho and have a meal somewhere like Balans. That's what I love about living here - there's always life around me.

With experience it seems to be possible to control the flow of paint, to a great extent, and I don't use – I don't use the accident – 'cause I deny the accident.... it's quite different from working, say, from a still life where you set up objects and work directly from them. I do have a general notion of what I'm about and what the results will be. I approach painting in the same sense as one approaches drawing, that is, it's direct.

Jackson Pollock

Grace is a quality different from beauty, though nearly allied to it, which is never observed without affecting us with emotions of peculiar delight, and which it is, perhaps, the first object of the arts of sculpture and painting to study and to present.

Archibald Alison

Yes, Wordsworth often personified objects in nature and gave them the human aspect, and personally I have done rather the reverse process in sculpture. I've often found that by taking formal ideas from landscape, and putting them into my sculpture I have, as it were, related a human figure to a mountain, and so got the same effect as a metaphor in painting.

I painted 'the Shelton with Sunspots' [New York], in 1926. I went out one morning to look at it before I started to work and there was the optical illusion of a bite out of one side of the tower made by the sun, with sunspots against the building and against the sky. I made that painting beginning at the upper left and went off at the lower right without going back.

Georgia O'Keeffe

… I don't expect everyone to get something deep out of it. Some people can just listen to the music, or get their aggressions out, but I think with any great painting or movie, album or whatever it is, it's better if people can take what they need from it. That they're not forced to get some particular message.

But what an eye Monet has, the most prodigious eye since painting began! I raise my hat to him. As for Courbet, he already had the image in his eye, ready-made. Monet used to visit him, you know, in his early days... But a touch of green, believe me, is enough to give us a landscape, just as a flesh tone will translate a face for us..