Camille Pissarro Quotes

In abstract painting, I worried about the limited range of possibilities that, as time went on, became increasingly important to me. I wanted to express or deal with differences that an all-over paint and canvas 'presence' neutralized.

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.

Painting, I think it's like jazz.

I really like the language of painting.

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.

Stained glass is unique from the outside, but as a painting insider, I know that oil painting's all about light. And it's about the depiction of light, the way that it bounces off different types of skin, different landscapes. The mastery of that light is the obsession of most of my painter friends.

I don't paint things. I only paint the difference between things.

The truth is that painting is all about scale; you use scale to create experience. A lot of artists have lost that ability. They don't even know that's something they should be doing.

I try to construct a picture in which shapes, spaces, colors, form a set of unique relationships, independent of any subject matter. At the same time I try to capture and translate the excitement and emotion aroused in me by the impact with the original idea.

I am very busy and don't have a lot of down time, but I write my best songs in those situations. I enjoy my life the most when I have a bunch of things going on at the same time.

The substance of painting is light.

The colors live a remarkable life of their own after they have been applied to the canvas.

Impressionism; it is the birth of Light in painting.

There's a certain darkness to Slipknot, but at the same time, there's a very strong dose of positivity. Stone Sour is the same way. There's a certain melancholy that comes with the slower stuff, but at the end of the day there's also that other side that is very positive. It's all how you deliver.

The earliest paintings I loved were always the most non-referential paintings you can imagine, by painters such as Mondrian. I was thrilled by them because they didn't refer to anything else. They stood alone, and they were just charged magic objects that did not get their strength from being connected to anything else.

You cannot possibly invent painting all by yourself.

With 'Silver Linings,' I didn't feel - I was thinking of certain things, but I just said, 'Let me go with it.' You have to know what you're doing, where you're going with the scenes, and I put a lot of work into that. But when you're out there, at the same time you gotta be ready for anything.

A photographer must choose a palette as painters choose theirs.

Design, whether it's on your body or in your home, is the same thing. It's mixing different colors, different textures, and unexpected patterns - elements that you wouldn't often put together in an interesting way.

America is a very special place. In this country, you have the best and the worst at the same time. Whatever you can imagine.

I get the same charge from juxtaposition of colors as I do from juxtaposition of chords.

In a painting, you can't make out whether the artist painted the left eye before the right eye. In Chinese calligraphy, you can see the progression of the artist's stroke.

I like to treat paint as material - to daub it, drop it, let it slide. There was Action Painting, but I also compare it to paint effects found on the streets. This approach is superimposed on a sculptural surface that is also 'painterly.'

Yes, I did, I mean I painted er, in a kind of abstract expressionist way, because of course that was exciting.

I want to seduce my viewers and be able to hold them with the work. Much of that is done in terms of formalist ideas that I bring to the work.