I think a painting should include more experience than simply intended statement.
Most of the power of painting comes through the manipulation of space... but I don't understand that.
You know, face painting in non-Western cultures is a sign of collectivism, is a sign of one representing the community, it's not unique at all.
When I was in art college, I would be painting, and I would create something on a canvas that was actually quite attractive. But if I got frightened and tried to protect that, that canvas would die.
I think of my peace paintings as one long poem, with each painting being a single stanza.
Some people like to paint trees. I like to paint love. I find it more meaningful than painting trees.
When the painting is hanging on your wall for a long time, you don't notice it. You get tired of it, even if it's a Picasso. When the next generation inherits the painting, they sell it. I don't want to be sold.
My parents felt that acting was far too insecure. Don't ask me what made them think that painting would be more secure.
Landscape is to American painting what sex and psychoanalysis are to the American novel.
My aim in painting has always been the most exact transcription possible of my most intimate impression of nature.
Well, I have a very simple method of painting.
The trend in some of the contemporary movements in art, but by no means all, seems to deny this ideal and to me appears to lead to a purely decorative conception of painting.
Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again become great.
Life is painting a picture, not doing a sum.
I have generally found that persons who had studied painting least were the best judges of it.