Artistic Encouragement Quotes

After 'Superstar,' I was encouraged. I felt audiences wanted to be challenged.

If you want to support a writer, produce the first five plays he writes.

When I was nine, the teacher asked us to write a piece about our village fete. He read mine in class. I was encouraged and continued. I even wanted to write my memoirs at the age of ten. At twelve I wrote poetry, mostly about friendship - 'Ode to Friendship.' Then my class wanted to make a film, and one little boy suggested that I write the script.

I never expected any sort of success with 'Mockingbird'... I sort of hoped someone would like it enough to give me encouragement.

Both of my parents were incredibly supportive of me being in any arts, because they were both in the arts. They weren't the typical story of, "Oh, get a real job. You need to make money." They basically said, "Yup, be an artist. You'll be broke your whole life but you'll be happy."

My parents always pushed creativity on us, but they made it seem like the fun thing to do.

She [Carol Parsinan] somehow read my poems and came back to me and convinced me that I could be a poet, that I had the passion and the enthusiasm and the creativity to become a poet, but that what I was writing was not poetry because I was just expressing my feelings and I wasn't try to make anything.

Children should learn to draw as they learn to write, and such a mystery should not be made of it. They should be encouraged, not flattered... then [later in life] double the effort is required to get the facility which might have been gained insensibly.

I think I was born an artist. But the key is that I have a mom that encouraged and supported my artistic side. She still has the stick-figure drawings framed.

My mother's a genius. She just kept feeding me art on whatever we had; paper plates, silver platter, didn't matter. You know, she just kept feeding it to me. So we went to see all kinds of theater. We would go to the art museum pretty much every Sunday, and I would watch her. She let me know that art was supposed to touch.

We have devoted ourselves to the government and extension of the Church, and, among other objects, we have conceived it to be our duty to foster especially literature and the fine arts ... next to knowledge and true worship of the Creator, nothing is better or more useful to mankind than such studies.

I didn't write any music at all, and then, I remember Jon Anderson being very insistent saying that there were two kinds of musicians: the ones who wrote music and the ones who didn't. And clearly the ones who wrote music were more superior human beings in his mind. So he kind of nudged me and sort of prodded me into it. I picked it up slowly. Then I learned more about chords and harmony and I just kept adding to that. One of the great things about having good players in your band is that you just ask them questions. You can pick up some good information that way.

There ought to be more grants that go to people in their late twenties and early thirties. That's a crucial age, although it's very hard to judge who is worth supporting and who is not. Looking back on my own life, I see that was the period when I was closest to giving up as a novelist and when I most needed some encouragement.

I've always tried to - when I've been able to - support young artists, no matter what medium.

I grew up in what you might call a relentlessly creative household. We were given art supplies, music supplies... Our mother knew enough to get us started and then stand back and not meddle. My parents never said to us, 'Don't you think you'll need something to fall back on?' They acted as though creativity was completely normal.

My family was artistic and encouraged me to express myself. I was a show-off, so they took me to ballet class.

I can't presume to speak for the others, but I never felt anything negative from anyone when I was onstage with Television. When I played rhythm behind Lloyd, the only thing that concerned me was to push him as hard as I could so that he'd go beyond what he was capable of and come up with something new, and vice versa. That's the only thing that mattered.

I wanted to invent some kind of American dance that was danced to the music that I grew up on: Cole Porter and Rodgers and Hart and Irving Berlin. So I evolved a style that certainly didn't catch on right away - but I had some good mentors in New York who encouraged me.

The headmaster asked to read one of my poems at some celebration or other when I was about 10. When I look back, that is phenomenal encouragement.

There was never any effort made out there to improve the artist.

I feel a lot of cities are like, you go and you are trying to do your art, and there are so many other artists there who are so brilliant. And it's kind of like they stomp on the scene, and they are like, "You're not already Picasso? Get the hell out of here!" And Memphis is like, "Well, you'll get there one day!"

It is certainly a most tremendous and unprecedented honor and distinction that I have received from Pittsburgh. Let us hope that it is not too late in my case to be of value to American art in something that I may yet possibly do from this encouragement.

My mother sent me to art classes at the age of 11. I began to have kids around me say, 'Will you make drawings for me? Will you make a painting for me?' And it really clicked.

As a woman I have felt encouraged and fed by and nurtured by the work of [Jack] Kerouac and others.

I also got encouragement from my teachers at primary school but one person in particular who had a significant impact on my lean towards art is Mr. Luigi St. Omer. Mr. St. Omer was the one who always reminded me that I should not settle for less than greatness in my art. He saw that I had the potential and he helped me develop that talent.