Thomas Kinkade Quotes

On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.

One does a whole painting for one peach and people think just the opposite - that particular peach is but a detail.

My only worry is the painting I'm doing. Nothing else.

I like to do really realistic paintings, which requires so much focus; like, if I have to go to the bathroom or change a song, I can't; I'm so in it.

Color is the essence of painting, which the subject always killed.

I have found in my still-life work that I seem to be able to tell what objects are important to me by what tends to stay in the painting as it develops.

Such compositions, line and color ideas, such wonders come into my mind and have stuck! - They will this time be dismissed only by being painted out.

There is no right and wrong way to paint except honestly or dishonestly. Honestly is trying for the bigger thing. Dishonestly is bluffing and getting through a smattering of surface representation with no meaning.

I'm a painter, that's where I started out, at four years old, that was my first love as far as expression. So, I'm not a painter in the sense of, "Please come see my paintings" but, I do understand the value of not looking over the artist's shoulder while the work is in progress.

I destroy the painting as soon as I can see what it is. When I can make out something in it, I destroy it because it's no longer coming from my unconscious.

I always like the studio best, once I got the hang of it and the control. I like it because it's complete control

I want painting to be difficult to do.

I like to feel like you can bite my paintings. Not to eat them, to hurt them. I like to feel like I'm painting with my teeth.

If one were to ask a painter what he felt about anything, his just response - though he seldom makes it - would be to paint it, and in painting, to find out.

Every canvas is a journey all its own.

When I stand before a canvas, I never know what I'll do, and I am the first one surprised at what comes out.

I've just kept on ceaselessly painting in order to learn painting.

Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this.

Photography and painting, all of that fed into my directing eventually.

It's been so much a part of my life the thinking that I go through is crucial. I found that if I don't paint for around a week, I get practically suicidal. It took a long time to figure out why I had these mood swings, and I finally figured out it's because I haven't painted.

What you do when you paint, you take a brush full of paint, get paint on the picture, and you have faith.

Take the birds which you'll have noticed in so many of my recent paintings. I never thought them up, they just materialized of their own accord; they were born on the canvas... it is absurd to read any sort of symbolic significance into them.

Unlike the older, more humanly shaped arts, which begin with a seed and accumulate their form organically, photography clips its substance out of an actual continuum.

The studio experience fluctuates depending on who you work with, it's not like it's all one experience. Every studio is different, every producer's personality is different. You never know what you're going to do.

What does a painter do? You get a painting, you put some intent and passion and emotion into these things, and hope the people will receive it. Same as a playwright. It's art.