The unity in any painter's work arises from the fact that a person, brought to a desperate situation, will behave in a certain way... style.
From the age of six I wanted to be an artist. At that point I meant a painter, but it turned out what I really meant was I was someone who was very interested in watching the world and making copies of it.
So what we have tried to do in our later buildings is to try to be completely consistent, as a painter is consistent or as a sculptor is consistent. Architecture also must be very consistent.
At Sarah Lawrence, I realized that everybody was already what they were going to be. The painters were painting, the writers writing, the dancers dancing. And nobody wore any makeup. The art was uppermost.
My dad's an artist, and my grandfather paints - he's not a painter; my grandfather's a butcher - but he does a lot of crafts, stained glass, painting, that stuff. There is art in our family, and I was an art major in college along with being a theate...
I take this art very seriously and passionately. I love what I do. You can't help but grow. That's not to say you don't make mistakes or make bad choices, but that's part of the art. Painters paint bad paintings.
I wanted to be an artist. I was studying art. I wanted to be a great painter. When I went into the Navy, there wasn't much to draw at sea. So I began writing, and I began reading a lot.
Time extracts various values from a painter's work. When these values are exhausted the pictures are forgotten, and the more a picture has to give, the greater it is.
There were no museums or galleries in Shanghai, but I was very keen on art - I was always sketching and copying, and sometimes I think that my whole career as a writer has been the substitute work of an unfulfilled painter.
I have wanted to be a fine artist painter, and I reached the point in art schools were I'd like to understand more about images and how images communicate information to people. And I was not getting very far in that from my professors.
I'm very happy to hear that my work inspires writers and painters. It's the most beautiful compliment, the greatest reward. Art should always be an exchange.
It's the duty of all novelists, all painters, all musicians, all people who try to make art move: to look for something they feel authentically, without paying attention to styles.
Has the painter not always gone to an art school, or at least to an established master, for instruction? And the composer, the sculptor, the architect? Then why not the writer? Good poets, like good hybrid corn, are both born and made.
Good art theory must smell of the studio, although its language should differ from the household talk of painters and sculptors.
I didn't have any real art training, but when I was about twelve nad thirteen, another boy and I went to a sign painter's house every Friday night and took lessons.
I remember when you used to have your profession on your passport and I always thought that being a painter was the best one to be, because my heroes were Goya and Francis Bacon.
To see the Persia of poets and painters, hiding in plain sight behind the much-maligned Iran of our newspaper headlines, would be my fondest wish.
The anarchist painter is not the one who will create anarchist pictures, but the one who will fight with all his individuality against official conventions.
It is this research into pure painting that is the problem at the present moment. I do not know any painters in Paris who are really searching for this ideal world.
Picabia is a very old painter who some people try to connect me to, but I refuse such comparisons very well.
I'm like the painter with his nose to the canvas, fussing over details. Gazing from a distance, the reader sees the big picture.
