Quotes about Painting

In Holland, everyone is an expert in painting and in tulips.

Painting as it is now promises to become more subtle - more like music and less like sculpture - and above all it promises color. If only it keeps this promise.

I see no thread running through my work; I simply get on with my life and my painting.

I do what I do out of pure enjoyment. Hopefully, nobody does it better. There's a beauty to making a great deal. It's my canvas. And I like painting it.

I can very well do without God both in my life and in my painting, but I cannot, suffering as I am, do without something which is greater than I am, which is my life, the power to create.

When I see how several painters I know here are struggling with their watercolours and paintings so that they can't see a solution anymore, I sometimes think: Friend, the fault is in your drawing. I don't regret for a moment that I did not go in for watercolour and oil painting straight away. I am sure I will catch up if only I struggle on, so that my hand does not waver in drawing and perspective.

All the same, I'm sure that if one is brave then recovery comes from within, through complete acceptance of suffering and death, and through the surrender of one's will and love of self. But that's no good to me, I like to paint, to see people and things and everything that makes our life—artificial, if you like. Yes, real life would be something else, but I don't think I belong to that category of souls who are ready to live, and also ready to suffer, at any moment.

Housed in the Van Gogh Museum in Amsterdam, the following plate was completed in 1886, portraying the unusual subject of a skeleton smoking a cigarette. The work has roused many interpretations, including a depiction of mortality and a prophetic cry of the dangers of tobacco. In the next two years, van Gogh painted two other paintings with skulls, illustrating his fascination with the macabre subject.

Did I tell you that I had sent the drawings to friend Russell? At the moment I am doing practically the same ones again for you, there will be twelve likewise. You will then see better what there is in the painted studies in the way of drawing. I have already told you that I always have to fight against the mistral, which makes it absolutely impossible to be master of your stroke. That accounts for the "haggard" look of the studies.

If I were living near you, I should try to make you understand that it might perhaps be more practical for you to paint with me than to write, and that you might be able to express your feelings more easily that way. In any case I can do something personally about your painting, but I am not in the writing profession.

For example, if we own a house-painting business, our customer's external problem might be an unsightly home. The internal problem, however, may involve a sense of embarrassment about having the ugliest home on the street. Knowing this, our marketing could offer "Paint That Will Make Your Neighbors Jealous".

Before Turner there was no fog in London.