Henri de Toulouse-Lautrec Quotes

I have not written in vain if I have heretofore done anything towards diminishing the reputation of the Renaissance landscape painting.

Impressionism; it is the birth of Light in painting.

After 1909, Monet drastically enlarged his brushstrokes, disintegrated his images, and broke through the taming constraints and delicacy of Impressionism for good. Nineteen gnarly paintings, starting in 1909 and carrying through his final seventeen years, finish off the notion that Monet went happily ever after into lily-land.

I love Monet - I've nicknamed him King Blob. When you go up to the painting, it's a series of blobs - amazing.

I do have a dream, a painting, the baths of La Grenouillere for which I've done a few bad rough sketches, but it is a dream. Renoir, who has just spent two months here, also wants to do this painting.

Whistler,' Manet called. 'How's your mother?

The older painting - well, it does have an effect all at once, I suppose, but it's of a lesser intensity than a lot of the American work in the last ten or fifteen years.

Where Cezanne captured and intensified shards of the eternal (every pear far more sharply defined than it could be in life), Monet portrayed the changeability and flux of every moment. 'The Water Lilies' give you a jittery, amorphous sense of a world seen at the speed of light.

I have been known as the minimal and conceptual artist for over five decades. I think I haven't changed much.

In my world, history comes down to language and art. No one cares much about what battles were fought, who won them and who lost them - unless there is a painting, a play, a song or a poem that speaks of the event.

What I'm working on is for people to be able to say that Kippenberger had this really good mood.

I've been painting off and on since I was in sixth grade. I don't paint when I'm acting - I'm not really able to split my focus that way. I do it intensely when I'm doing it, but I'm reluctant to take myself too seriously as a painter because that would mean there would be pressure to be better than I am.

I love color. When I paint, I use a lot of color. I love art that has a vibrancy of color and compositions. I adore the Impressionists, and I'm influenced strongly by them as a self-taught artist.

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.

I have never subscribed to the Dirty Pallet school of painting.

Anybody great, we're all interested in the relics. If you found an unfinished Gauguin, you'd still want to see it.

When I was painting portraits and - shall we say? - rather allegorical heads, which is the figurative work which immediately preceded the direction I have since gone, these images were always of a very fixed, rigid quality, and, of course, my work still has this aspect.

My father, Fukujuro, drove a cab and my mother, Itsuko, was a homemaker. My parents often took me to see Impressionist exhibits. At home, I would paint pictures in a similar style.

I learned to paint in a historical method. First through watercolours and then through oil. Then, when I went to college and to the school of architecture, I took up modern painting.

I'm quite a precious painter; my style is a messy fine art - sort of impressionist. I do portraits, I love painting other artists, but recently, I've been playing around with self portraits, putting on different characters.

Just because someone said painting is dead doesn't mean that it's a fact or the truth - painting is the soul food of art, in a way.

The thrill of a photo-realist painter is if you get really close to the painting, it looks just like a photograph. Whereas in my case, if you get close to my paintings, they totally fall apart - so I'm about as far from a photo-realist as it gets.

You don't hire Kehinde Wiley to have a tame painting.

Paul Smith's artwork was so elegant and so graphic, so I think that's always had a strong effect on me, especially starting out.

The one artist who actually had influence over me was Bo Bartlett.