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Read through the most famous quotes by topic #painting
Painting, by its nature, cannot provide an object of simultaneous collective reception... as film is able to do today... And while efforts have been made to present paintings to the masses in galleries and salons, this mode of reception gives the masses no means of organizing and regulating their response. Thus, the same public which reacts progressively to a slapstick comedy inevitably displays a backward attitude toward Surrealism. ↗
I have an idea that the only thing which makes it possible to regard this world we live in without disgust is the beauty which now and then men create out of the chaos. The pictures they paint, the music they compose, the books they write, and the lives they lead. Of all these the richest in beauty is the beautiful life. That is the perfect work of art. ↗
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. ↗
What interests me is to set up what you might call the rapport de grand écart - the most unexpected relationship possible between the things I want to speak about, because there is a certain difficulty in establishing relationships in just that way, and in that difficulty there is an interest, and in that interest there is a certain tension and for me that tension is a lot more important than the stable equilibrium of harmony, which doesn't interest me at all. Reality must be torn apart in every sense of the word. What people forget is that everything is unique. Nature never produces the same thing twice. Hence my stress on seeking the rapport de grand écart: a small head on a large body; a large head on a small body. I want to draw the mind in the direction it's not used to and wake it up. I want to help the viewer discover something he wouldn't have discovered without me. That's why I stress the dissimilarity, for example, between the left eye and the right eye. A painter shouldn't make them so similar. They're just not that way. So my purpose is to set things in movement, to provoke this movement by contradictory tensions, opposing forces, and in that tension or opposition, to find the moment which seems the most interesting to me. ↗
