Jane Seymour Quotes

I decided to become a painter when my first four paintings where all published and attracted a great deal of interest. I exhibited one of them and it was sold.

It's great, I guess, when your paintings are hanging up in a museum.

I never wanted to be someone who's asking someone to put my work in their gallery. I wanted to be asked.

At 18 I began painting steadily fulltime and at age 20 had my first New York show at the Macbeth Gallery.

'Certifiably Jonathan' contrives crises for its subject - a bid to get his paintings into MOMA, among others.

The art industry is a totally different world, and to be appreciated in that different world is what matters to me.

The big pay-off was to work as an artist and gain some shred of respect from your friends, who were also artists. But there was never any notion that you could make a living out of art. On the rare occasions you had a gallery show, and sold a little work, well, that was just gravy.

I think most of the people involved in any art always secretly wonder whether they are really there because they're good or there because they're lucky.

No one was more surprised than me when my paintings started selling, except maybe my dealer.

One of the expectations growing up was that I'd become a well-known artist.

We truly experienced a lot as artists.

The frame is the reward of the artist.

I remind myself Vincent van Gogh died without having sold a single painting. Like, art is not measured by the trappings that people attached to it. It's the thing itself, and so, as you know, it's been a dream of mine to write songs for Disney, and so, it's really exciting to finally hear. It's two and a half years.

An artist would not rise above the mediocrity if he condemns it.

The chance to be both artistically appreciated and commercially appreciated... That's what you hope for.

We show people that anybody can paint a picture that they're proud of. It may never hang in the Smithsonian, but it will certainly be something that they'll hang in their home and be proud of. And that's what it's all about.

Effort and result are never simultaneous. In art, only the result counts.

What really shifted my understanding of my potential placement in the world of art is when I had a chance to choreograph a show for... It was just this incredible production with all these masters.

I photograph artists, and some of them are very well known, but if you ask the average man on the street, 'Do you like Anselm Kiefer?' He would stare at you with a blank stare, because these are not celebrities. They are celebrated in a specific circle.

I finished my studies in England, I opened my studio in London, and the first one-man exhibit I had on Bond Street, which was opened by the Austrian ambassador.

I've had so much success. I had something to say, I got to say it, people heard it, and they agreed. That's every artist's dream. That's the brass ring.

The arts were like, there's no opponent. It's just yourself. I'm not saying they don't make the arts a competition with awards and all that, but that's outside the work itself.

'Margaret' as a creative entity is something that I'm very happy and proud of. But 'Margaret' as a professional experience was a nightmare until it was rescued by critics and people who liked it.

Mr. C. Klackner has for sale four etchings etched by myself, at the expense of two years' time & hard work - 'The Life Line,' 'Peril on the Sea,' 'Eight Bells,' 'Mending Tears,' - all of which are very good and should have been put forward long ago, but C. Klackner is waiting for me to die, is my idea of the matter.

I could, of course, have written about the film world and the jealousy there and the frequent belief that others don't have talent. But, for some reason, it just struck me to write about art.