#painting

Outside, the sunlight had turned pale lemon, but the studio remained cool. The white walls and white-tiled splashback behind the sink were made more clinical by the metal tables which looked as if they’d originally been intended for use in an operating theatre. Even though they were laid out with brushes and paints rather than forceps and retractors, the effect was equally daunting; both sets of tools could open you up in strange and unexpected ways. ↗

— Christine Stovell

#paintings #romantic-comedy #equality

I've been actively engaged with mythic imagery ever since I picked up that Rackham book, but it really came into focus for me when I moved from London to the country. As I walked the extraordinary landscape of Dartmoor, I looked at the trees and the rocks and the hills and I could see the personality in those forms...then they metamorphosed under my pencil into faeries, goblins and trolls. After Alan and I published "Faeries", he moved on from the subject of faery folklore to illustrate Tolkien and other literary works...while I discovered that my own exploration of Faerieland had only just begun. In the countryside, the old stories seemed to come alive around me; the faeries were a tangible aspect of the landscape, pulses of spirit, emotion, and light. They "insisted" on taking form under my pencil, emerging on the page before me cloaked in archetypal shapes drawn from nature and myth. I'd attracted their attention, you see, and they hadn't finished with me yet. ↗

— Brian Froud

#dartmoor #devon #drawing #fairies #fey

And I started with this: I have not painted at all my childhood. In fact, I never painted. But I helped my father who was a house painter and decorative painter. He made stage sets, he made glass paintings, he made everything. ↗

— Josef Albers

#decorative #everything #fact #father #glass

I wanted to dress the woman who lives and works, not the woman in a painting. ↗

— Giorgio Armani

#i #lives #painting #wanted #who

Painting is a source of endless pleasure, but also of great anguish. ↗

— Balthus

#anguish #endless #great #painting #pleasure

I will always find even the worst paintings that attempt some kind of representation better than the best invented paintings. ↗

— Balthus

#attempt #best #better #even #find

Painting is the passage from the chaos of the emotions to the order of the possible. ↗

— Balthus

#emotions #order #painting #passage #possible

I always feel the desire to look for the extraordinary in ordinary things; to suggest, not to impose, to leave always a slight touch of mystery in my paintings. ↗

— Balthus

#desire #extraordinary #feel #i #i always

Painting what I experience, translating what I feel, is like a great liberation. But it is also work, self-examination, consciousness, criticism, struggle. ↗

— Balthus

#consciousness #criticism #experience #feel #great

Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does. ↗

— John Berger

#any #belongs #does #drawing #however