Margaret Keane Quotes

Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age.

My whole purpose of taking on miniature painting was to break the tradition, to experiment with it, to find new ways of making meaning, to question the relevance of it.

There is no interruption between my older paintings and my cutouts. Just that with an increasing sense of the absolute, and more abstraction, I have achieved a form that is simplified to its essence.

I often photograph something as if the subject matter was realistic, but it is actually a fantasy.

Yes, I'm very expressive with my painting.

My approach to portraiture is conceptual.

My paintings cannot be a negation of what has always been and always will be necessary - drawing and search for values.

We are the two great painters of this era; you are in the Egyptian style, I in themodern style. (to Pablo Picasso)

The sign of a masterpiece: A painting when there's a lack of resolution.

Painting is literature in colors. Literature is painting in language.

My interest in painting is recording things. I think of myself as almost a documentary filmmaker... I've gotten into some curious situations.

I'm using the grid as formation. I wanted a relationship between the paintings and videos so that way when you are looking at the videos there's a direct relationship to the paintings.

Let's talk about the artist's desire to go beyond the pictorial or the representational and the desire to create the abstract - the idea that painting can go beyond what is seen. What we found is that, increasingly, painting became about paint, its own material truth. When I'm talking about the way that we look at others and the way that we see ourselves increasingly, looking at others becomes its own material truth.

The kind of painting which I find exciting is not necessarily representational or non-representational, but it is musical and architectural... Whether this visual relationship is slightly more or slightly less abstract is, for me, beside the point.

The depths modern art has been exploring are mysterious depths, full of strange fish.

The best spot painting you can have by me is one painted by Rachel.

I do not like to be a prophet. I like better to paint than to predict what the next painters will do. Though I have a feeling that consideration of order is very much in the air.

I suspect by the time the Beatles were writing the White Album, they didn't go, "'I Wanna Hold Your Hand!' I wanna play that!" It's like if somebody asked you to put on the clothes you wore in high school. Well, no. No!

No one who looks at my paintings can see whether a painting is upside down or not anymore. I've made or developed so many image models that some people have given up trying to keep track of me. But others have only one or two ways of doing things and are successful with that.

I think my painting is so autobiographical if anyone can take the trouble to read it.

I love painting. As far as photography is concerned, I understand nothing.

The key to understanding any people is in its art: its writing, painting, sculpture.

Often while reading a book one feels that the author wouold heave preferred to paint rather than to wirte; one can sense the pleasure he derives from describing a landscape or a person, as if he were painting what he is saying, because deep in his heart he would have preferred to use brushes and colors.

It is an intimately communicative affair between the painter and his painting, a conversation back and forth, the painting telling the painter even as it receives its shape and form.

In the end I'm in love with it [Western European easel painting]. And that's where a lot of the influence from the work comes from.