Canvases For Painting Quotes & Sayings

All night I carpenter

A space for the thing I am given,
A love

Of two wet eyes and a screech.
White spit

Of indifference!
The dark fruits revolve and fall.

The glass cracks across,
The image

Flees and aborts like dropped mercury — Sylvia Plath

You, reader, are alive today, reading this, because someone once adequately policed your mouth exploring. — Maggie Nelson

My house is about equidistant from the Young's brewery and the Fuller's brewery. This is no accident. — Michael Jackson

The acme of futility was to regret a pleasure that was past, and he had no intention of doing so. — Winston Graham

They were wrestling with canvases, using violent colors and huge brush strokes. I arrived with gray, silent, sober, oppressed paintings. One critic said they were paintings that thought. — Antoni Tapies

The history of modern philosophy is the history of losing and regaining the awareness of the fact that there is no third way between the Absolute and the absurd. — Jakub Bozydar Wisniewski

I reduced painting to its logical conclusion and exhibited three canvases: red, blue, and yellow. I affirmed: this is the end of painting. — Alexander Rodchenko

Take some pleasure from telling him no. My guess was that she worked for the landlord, not — Andrew Vachss

The more I drive myself into the depth of my inside, the more things come up to my vision, visibly or invisibly ... I even do not know if I am seeing them with my eye or with my mind. I just need to copy them on my canvases. But this mental process is always overwhelming. I often have hard time to deal with my emotion on this state. You could call this depression on surface? But actually, so many 're-birth' and 'reform' are going on on my thoughts, inspiration, philosophy ... etc in the underwater. I believe this struggle make my art real. My art always comes from my emotion. — Hiroko Sakai

Pity and friendship seek different habitations. — Helen Hunt

Even if I thought he as perfect for her." She turned to face him. "What were we thinking?"
"We weren't," he said. "We were in love. — Nicholas Sparks

The reason for my painting large canvases is that I want to be intimate and human. To paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view or with a reducing glass. However you paint the larger picture, you are in it. It isn't something you command. — Mark Rothko

No academy could have given me all I discovered by getting my teeth into the exhibitions, the shop windows, and the museums of Paris . Beginning with the market - where, for lack of money, I bought only a piece of a long cucumber - the workman in his blue overall, the most ardent followers of Cubism , everything showed a definite feeling for proportion, clarity, an accurate sense of form, of a more painterly kind of painting, even in the canvases of second-rate artists. — Marc Chagall

An impression which simply flows in at the pupil's eyes or ears and in no way modifies his active life, is an impression gone to waste. It is physiologically incomplete ... Its motor consequences are what clinch it ... — William James

Is all niceness then or is all buggery? How can a man be forty-five years old and still not know whether all is niceness or buggery? How does one know for sure? — Walker Percy

The years lay spread out before her, spacious untouched canvases on which she was presently going to paint the picture of her life. It was to be a very beautiful picture, she said to herself with an extraordinary feeling of proud confidence; not beautiful because of any gifts or skill of hers, for never was a woman more giftless, but because of all the untiring little touches, the ceaseless care for detail, the patient painting out of mistakes; and every touch and every detail was going to be aglow with the bright colours of happiness. — Elizabeth Von Arnim

Nor did these society people add to Elstir's work in their mind's eye that temporal perspective which enabled them to like, or at least to look without discomfort at, Chardin's painting. And yet the older among them might have reminded themselves that in the course of their lives they had gradually seen, as the years bore them away from it, the unbridgeable gulf between what they considered a masterpiece by Ingres and what they had supposed must forever remain a "horror" (Manet's Olympia, for example) shrink until the two canvases seemed like twins. But we never learn, because we lack the wisdom to work backwards from the particular to the general, and imagine ourselves always to be faced with an experience which has no precedents in the past. — Marcel Proust