Artistic Style Quotes

When you start reading a piece together, you get a sense of someone's basic philosophy of music without saying a word. You realize the other person's approach, how they express themselves, the kind of restraint they show, all those things.

Louise Bonnet is a Los Angeles-based painter of round, fleshy, almost obscene shapes and people. But hers is a very clean, friendly cartoon world, so there's this tension between harmlessness and perversion that is totally unsettling.

I don't paint butter dishes, doilies, or hummingbirds in my garden. It's more raw, I suppose. But it always creates a reaction.

I do dance music, and I can be pretty camp myself from time to time.

American art ought to be monumental, in keeping with American life.

I had a style before I was signed, but now I'm developing my commercial sound as well as trying to strike a balance between authentic music and music that the masses will love.

In the final analysis, style is art. And art is nothing more or less than various modes of stylized, dehumanized representation.

In drawing after drawing, pastel after pastel, painting after painting, the contours of Degas's dancing figures become, at a certain point, darkly insistent, tangled and dusky. It may be around an elbow, a heel, an armpit, a calf muscle, the nape of a neck.

Originality depends only on the character of the drawing and the vision peculiar to each artist.

In the vast majority of movies, everything is done for the audience. We are cued to laugh or cry, be frightened or relieved; Hitchcock called the movies a machine for causing emotions in the audience. Bresson (and Ozu) take a different approach. They regard, and ask us to regard along with them, and to arrive at conclusions about their characters that are our own. This is the cinema of empathy.

I'm a pointillist, just working my tiny little piece of the canvas. I'm not so good at perspective.

When I was a young kid at art school, I loved the sensual geometry of Poliakoff, which, of course, is inherent in my own work.

Classical art stands for form; romantic art for content.

Marvin Gaye was one of the coolest. I look to him as a style icon and as an artist.

My voice is a combination of how I grew up and what I was listening to growing up. I like a lot of different kinds of music and am always being inspired in different ways by different artists for different reasons.

I never claimed to be a generic artist, period. I never wanted to be a generic artist.

I've never claimed that this is investment art. When we first started out, all the art colleges and universities across the country would sort of badmouth what we were doing. It's funny that a lot of them now are sending us letters saying, 'We may not totally agree with the way you paint, but we appreciate what you're doing, because you're sending literally thousands of people into art colleges.'

The difference between a bad artist and a good one is: the bad artist seems to copy a great deal; the good one really does.

They thought I was a Surrealist, but I wasn't. I never painted dreams. I painted my own reality.

When I'm not in the booth, I'm one of the most laid-back guys. But growing up, I liked DMX, Jay-Z, 50 Cent, and T.I. - dudes that went all out on the track. My first songs were energetic because I liked their energy.

If the paying public demands naturalistic art, then an artist can use his skills to produce such pictures - but these are to be clearly distinguished from the artist's own art.

The older painting - well, it does have an effect all at once, I suppose, but it's of a lesser intensity than a lot of the American work in the last ten or fifteen years.

Sometimes I think that there's a fine line between impressionistic and messy.

Our band has always been really big on imagery. We've kind of used that as one of our strengths; we tend to do that pretty well.

I think it was more personal, but I certainly tried to adapt certain concepts of Surrealism.