Painters Quotes

I write about art out of gratitude to painters for the joy and spiritual uplift they have given me. Painters interpret for us the visual glories of God and, in this way, bring us closer to Him.

I do not think men have more talent. There are a great many women in the arts; novelists, painters, sculptors, poets-but the proportion is far lower in the field of song writing.

Everyone in my family is an artist. Both my parents are painters and my mom’s an opera singer. I was never shown any other way to process life.

Writers and painters alike are in the business of consulting their own imaginations, and stimulating the imaginations of others. Together, and separately, they celebrate the absolute mystery of otherness.

I think that most people think painters are kind of ridiculous, you know?

I’m probably much more influenced by film-makers and painters than I am by other songwriters or poets.

I’ve talked to a lot of artists – painters, writers, musicians – many of whom have had great ideas on trains. The only explanation I have is all that stuff is coming at you while you’re relaxed, so somehow it kicks you into hyperspace in terms of brain function.

All painters are interested in photography to a certain extent.

Architects, sculptors painters, we all must return to the crafts! For art is not a ‘profession.’ There is no essential difference between the artist and the craftsman. The artist is an exalted craftsman.

When you do music, your friends are writers, actors, painters. It’s all under the same roof. So anything creative is interesting to me.

How are we going to make painters by lecturing to them? We are going to make questioners, doubters, and talkers. We are going to make painters by painting ourselves, and by showing the paintings of others. By working frankly from our convictions, we are going to make them work frankly from theirs.

When I’m dead, I wanna leave a body of work, like authors or great painters do. I don’t wanna get ideas above my station, but why shouldn’t this be comparable? Pop music was supposed to be a flash in the pan, but here we are 50 years later, and it means something to us, and it always will do. It’s incredibly important.

They ought to put out the eyes of painters as they do goldfinches in order that they can sing better.

Many Japanese painters and calligraphers would change their names intentionally to keep their relationship to the art always fresh. This way, others’ expectations can be avoided.

My family is filled with amazingly talented painters, musicians, vocalists.

My friends tend to be writers. I think writers and painters are really all the same-we just sit in our rooms.

I decided one day to put on my tutu and jump on the coffee table and sing Aretha Franklin songs for the painters that were painting the house.

I take this art very seriously and passionately. I love what I do. You can’t help but grow. That’s not to say you don’t make mistakes or make bad choices, but that’s part of the art. Painters paint bad paintings.

Fashion photographers are the new painters.

Most artists – painters or writers – I think create out of stress or negative situations. Look at rock music. It’s about getting things off of your chest, and it’s a means of venting in many ways. That’s what my work is about.

Playwrights have texts, composers have scores, painters and sculptors have the residue of those activities, and dance is traditionally an ephemeral, effervescent, here-today-gone-tomorrow kind of thing.

Artists – musicians, painters, writers, poets – always seem to have had the most accurate perception of what is really going on around them, not the official version or the popular perception of contemporary life.

Breughel is an example of an artist – I mean, this is true about artists and painters in general, but he is a specific example of an artist whose work contains more than you think it does at first glance. Whose work rewards, sustains attention and looking.

In England, there is a dividing line between artists and illustrators, who are thought inferior to painters. Well, that’s absolute rubbish. Some of the most creative work is being done in children’s books. In Japan, everything is art. They don’t say painting is better than ceramics or dress design.

Painters must speak through paint, not through words.

Filmmakers are going to make films, just like painters are going to paint.

I took to wearing a black tie known as the Ascot, with long drooping ends. I had seen pictures of painters, sculptors, poets, wearing this style of tie.

All those crazy Impressionist painters in France were friends but they would write about how jealous and competitive they were. That’s what makes good art.

It is not the language of painters but the language of nature which one should listen to, the feeling for the things themselves, for reality is more important than the feeling for pictures.

When I was about seven, one or two people encouraged me, and art became an enormous and important refuge. By adolescence, I was absolutely passionate about it and felt those paintings and those painters, whether they lived a few hundred years ago or were still alive, were somehow my companions.

I like all those painters who loved and had a strong feeling for nature.

Painters of paintings, writers of books, never could tell the half.

I counterfeited Mark Kostabi’s artworks. During the eighties, Mark didn’t paint his own paintings. Instead, he had other artists painting them, and he just added his signature. So what I did was to use some of the same painters, and signed his name myself.

Painting is a field that attracts a lot of lazy people. You can just sort of sit and wait for things to come to you. I know a lot of painters who’ll sit and chat it up all night. But God, I just can’t do that.

I paint German artists whom I admire. I paint their pictures, their work as painters, and their portraits too. But oddly enough, each of these portraits ends up as a picture of a woman with blonde hair. I myself have never been able to work out why this happens.

I make movies just as painters paint: I work where I can.

Both my parents were painters.

When the modern movement began, starting perhaps with the paintings of Manet and the poetry of Baudelaire and Rimbaud, what distinguished the modern movement was the enormous honesty that writers, painters and playwrights displayed about themselves. The bourgeois novel flinches from such notions.

The earliest paintings I loved were always the most non-referential paintings you can imagine, by painters such as Mondrian. I was thrilled by them because they didn’t refer to anything else. They stood alone, and they were just charged magic objects that did not get their strength from being connected to anything else.

I love art, and it plays a huge role in my life. It’s definitely one of my greatest joys, and I’m a bit fanatical about certain painters and poets and musicians and sculptors.

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.

Some people are painters, and some are ballet dancers, and I’m a writer.

A lot of the most prolific painters died broke and weren’t appreciated in their time. I’m trying to remember who exactly I was thinking of – like Rembrandt, van Gogh or Gauguin. Some of those guys, they got whole floors of museums to themselves but weren’t really appreciated in their time at all.

I have been criticized rather strenuously by painters and sculptors for not incorporating their work in our buildings.

Red House Painters were doing cover songs before our first record deal. I remember live shows where we did an AC/DC song; I think we did ‘Send In The Clowns’ by Judy Collins. We did ‘The Star Spangled Banner,’ which came out on our third record.

At the beginning of the 20th century, the ambition of the great painters was to make paintings that were like music, which was then considered as the noblest art.

I always say Philadelphia, Pennsylvania is my biggest influence. But for painters, I like many, many painters, but I love Francis Bacon the most, and Edward Hopper.

To see the Persia of poets and painters, hiding in plain sight behind the much-maligned Iran of our newspaper headlines, would be my fondest wish.

Good art theory must smell of the studio, although its language should differ from the household talk of painters and sculptors.

Digital art software has empowered both the painterly side of photographers, and the photographer side of painters.

Most painters want recognition, especially by their peers.

I’ve been trekking the hills and lanes of the British countryside for nearly four decades now and I’ve come to associate my passion with overexcited poets rather than pampered painters.

Musicians are also interpretive artists and we are just as creative as painters and writers. We interpret in a way that expresses ourselves.

I like the fact that in ancient Chinese art the great painters always included a deliberate flaw in their work: human creation is never perfect.

Even the Impressionists, the most innovative artists of their time, sought to paint realistically. They believed that their freer way of portraying the visible world was truer to life than the literal realism of the ‘salon painters’ who dominated French art throughout the 19th century.

I like to move among painters, mathematicians, psychologists, people who can tell me something.

David is purely a conceptual artist. He didn’t play any instruments or paint or anything. We were painters.

Historically, the women who have been the great painters of the canon have very often have been the wives or daughters of supportive men. Like Artemisia, whose father was a very established painter. I will say that the two current contemporary artists I admire the most are women: Kara Walker and Swoon.

It’s a marvellous life, a gregarious life that we’ve had. We’re very lucky in that way. Unlike writers or painters, we don’t sit down in front of a blank canvas and say, ‘How do I start? Where do I start?’

Painters who do self-portraits are engaging in a form of narcissism. But it doesn’t work like that in movies. A truly narcissistic person wouldn’t go into filmmaking because it’s just too tiring.

Most painters want recognition, especially by their peers. I achieved that a long time ago with TV. I don’t need any more.

Everyone gets a pencil as a kid, but it doesn’t make them all authors or painters or drawers or anything else.

Painters aren’t expected to paint bleak pictures, are they?

I have a strange relationship with influences because mine are mostly literary or painters or poets, who I’ll even quote. I don’t do tributes to cinema.

When I’m dead, I wanna leave a body of work, like authors or great painters do.

We are all sculptors and painters, and our material is our own flesh and blood and bones. Any nobleness begins at once to refine a man’s features, any meanness or sensuality to imbrute them.

Unfortunately, we are not painters and authors, where we can do something in isolation. We require a lot of money to create what we create. It’s almost like being an architect: You can’t be an architect and build whatever buildings you want to.

At Sarah Lawrence, I realized that everybody was already what they were going to be. The painters were painting, the writers writing, the dancers dancing. And nobody wore any makeup. The art was uppermost.

Painters ‘see’ the world; musicians ‘hear’ it.

Art was a way of life in my family. My grandfather, N.C. Wyeth, who died a year before I was born, had been a prominent painter. So was my father, Andrew. My two aunts and two of my uncles also earned a living as painters.

I had always loved Haitian art, but I stumbled onto Haiti quite by accident. I went there on vacation after finishing a movie called ‘The Delta Factor,’ and I met lot of painters and fell in love with their folk art.

I’m not, by nature, a collaborator. My biggest influences were people like painters and poets. These are solitary workers.

By the time I discovered Chicano painters in the mid-’80s, I recognized that these guys were really world-class painters, but they weren’t getting any attention, which was good in one sense in that I could get their work for cheaper!

Today painters do not have to go to a subject matter outside of themselves. Most modern painters work from a different source. They work from within.

Even if we didn’t make records, we would have done it on the side for fun. Like, some painters sell their work; others just keep it – they love to do it whether they get paid or not.

I would love to have been a painter in the tradition of the surrealist painters who I admire so much.

Maine likes to call itself ‘America’s Vacationland.’ For many artists, though, it’s the office. Since the 19th century, painters from all over the country – including Edward Hopper, Alex Katz, John Marin, Fairfield Porter, Neil Welliver and Andrew Wyeth – have spent large chunks of time there.

Generally my focus has been on people who make things, whether it’s writers or directors or painters or musicians.

Pleasure has ever more been represented by poets and by painters as clothed in perpetual smiles and adorned with the richest jewels; and in real life, we have known many who, allured by her deceptions, blandishments, and hollow but showy temptations, have followed as she pointed until ruin has befallen them.

Stories in which the destruction of society occurs are explorations of social fears and issues that filmmakers, novelists, playwrights, painters have been examining for a long time.