Artistic Homage Quotes

You'd have to be completely crazy not to be influenced by and take from other artists. It's completely impossible not to.

I feel like, paying homage to an artist, it's better to do something that's inspired by them - a new work that's inspired by them - versus another person saying they redid your song.

Every intelligent painter carries the whole culture of modern painting in his head. It is his real subject, of which everything he paints in both an homage and a critique, and everything he says is a gloss.

I find the Romantic period extraordinarily interesting. My landscapes have connections with Romanticism: at times I feel a real desire for, an attraction to, this period, and some of my pictures are a homage to Caspar David Friedrich.

I went to Yosemite as an homage to Ansel Adams. I could never be Ansel Adams, but to know that's there for us - there's so much for us in this country.

Sometimes, with vocalese, I'm dealing with something, a great solo from the past, which is so iconic I can't presume to change it or mess with it.

O friendship, I too will press flowers between the pages of Shakespeare's sonnets!

That Moorish architecture is all over the place, of course. It affects me everywhere I see it, as it does so many people. But Brand Library was a special place to me, and I know I've paid homage to it many times in my drawings.

In a way, the highest praise you could give to a composer like Bach was to take and make your own arrangement; it was sort of an homage to that composer and to his work, so it wasn't considered sacrilegious to do something like that.

I wanted to make a movie that was kind of a tribute to the way I feel when I watch a John Hughes movie.

I think there's an interest right now in the performance aspect of artworks, instead of just hanging things on walls. We're in a moment when a lot of younger artists are looking at work from the '60s and '70s - they are looking at the pieces by Marina Abramovic or Vito Acconci. These pieces have a time element. They were performed live. To perform them again now isn't simply an homage, because it's a different audience, a different moment.

Julian Schnabel painted a picture that he dedicated to my character in Rumble Fish. It was called The Motorcycle Boy. I remember when he brought it over to me at the Mayflower Hotel [in New York] years ago. This is when you and I knew each other.

I tried to pay some small tribute to A Man and a Woman (1966) with the recurring musical theme.

I made a very bad mistake; I miscounted these scraps of information on the record as 92, and in continual homage to this man who had been so influential to me, I began creating or constructing my own films on this so-called "magic" number of 92 ... but when I eventually made a film about John Cage and met him, I explained this to him, and he found it very amusing because there are only 90 stories on the two sides of the record, and I'd based three years of my filmic career on this mathematical error!