Artistic Reference Quotes

Ultimately Warhol's private moral reference was to the supreme kitsch of the Catholic church.

Polanski's 'Chinatown' is a film that I have purposefully and consciously imitated, but 'Vertigo' is one that has got into my bloodstream. Every time I reappraise things that I've done, the influence is there, time and time again.

I think it's important as a player every now and again to play something that's influenced you as an artist just to expose the people to it.

All my art is in some way about other art, even if the other art is cartoons.

In a very ugly and sensible age, the arts borrow, not from life, but from each other.

Well, Fellini... there is always Fellini.

The only art I'll ever study is stuff I can steal from.

No art goes unmediated by other art.

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 sound like Homer. I mean Winslow Homer.

One of the things you have to be able to do, as a comic strip artist, is to draw things repeatedly from a variety of angles, so you need references, and you find the best picture you can.

I always say that I went to the College of Blossoms and the University of Ray Charles.

I looked, for example, to certain types of literature to which I would like to refer, like The Peregrine by J. A. Baker, and I mention a book, "read this, read it, read it if you are serious of being in any type of art or into filmmaking," or films that I should quote as examples.

All the animals I've painted always have a relationship with man. I have been told that part of the knowledge of the human anatomy comes from animals.

I thought if Oasis could get away with sounding like The Beatles, I could get away with sounding like Abba.

The way I make art - the way a lot of people make art - is as an extension of language and communication, where references are incredibly important.

An American critic wrote that she would rather be forced to read the New York telephone directory three times than watch the film A Zed and Two Noughts, a third of which was a homage to Vermeer. Conceivably, if you are a list-enthusiast like me, the New York telephone directory might be fascinating, demographically, geographically, historically, typographically, cartographically; but I am sure no compliment was intended.

In the room the women come and go talking of Michelangelo.

Painters can study the masters can't they? Musicians can hear Beethoven. What will filmmakers do?

That said, be mindful, to someone who's never seen any of my work, it's just a movie with actors. So it's only those who of course know the earlier work that will see something is afoot, so to speak. But I don't want to intellectualize.

He has Van Gogh's ear for music.

I wanted to be a painter and an artist. And it's interesting that in some of my later musical works, I refer so often and associate myself with works of art.

Imagine someone pointing to a place in the iris of a Rembrandt eye and saying, 'The walls of my room should be painted this color.

Whether it be in comics, games or film, you can trace the art direction and influences back to some earlier, real-life historic period or artistic movement.

Bjork's album, 'Homogenic,' it's got beats, strings, traditional Icelandic stuff. That's my benchmark for what an album should sound like, right up there with Coltrane's 'A Love Supreme' and Marvin Gaye's 'What's Going On.'