I believe in painting and I believe in eating too. What can we do? We have to eat, we have to paint, we have to live. Of course, there are different ways to survive. But it's my best option.
I don't enjoy good food. I don't enjoy flashy cars. I don't care if I live in a dump. I don't enjoy good clothes. This is the best I've dressed in months.
My best efforts were some modern things that looked like very lousy Matisses. Thank God I had the sense to realize they were lousy, and leave Paris.
You must forget all your theories, all your ideas before the subject. What part of these is really your own will be expressed in your expression of the emotion awakened in you by the subject.
From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.
Dancers, many dancers today can do so much technically. You can give them steps that are complicated, then more complicated, pyrotechnical - and they can execute these steps to perfection. But to do simple steps with a pure classical line, that is tr...
I am different because I have better schooling, better understanding of the line, gesture, how feet working, positions. They taught me modern things... and I wanted to give what I had: my schooling.
I had a couple of million dollars' worth of... stock once. And now it's not worth much more than wallpaper. I guess I just wasn't born to be rich.
Oh yes, technique has definitely advanced. But you never advance without losing something en passant, and you lose it because you're paying so much attention to the new thing.
Not that painting would have been a release. The reason for doing it is the desire to create. I've got to do it! I've seen that, I can still remember it, I've got to paint it.
It's hardly even noticeable that so many artists, designers and architects live here. It isn't reflected in the cityscape or in the museums. Many of the artists, for example, exhibit around the world, just not in Berlin.
Some writers would be kinder than others, I'm sure. Hopefully they might describe my techniques as a mixture of tried and tested formulas - if it aint broke don't fix it - and unexpected twists.
Color possesses me. I don't have to pursue it. It will possess me always, I know it. That is the meaning of this happy hour: Color and I are one. I am a painter.
Everything vanishes around me, and works are born as if out of the void. Ripe, graphic fruits fall off. My hand has become the obedient instrument of a remote will.
In the final analysis, a drawing simply is no longer a drawing, no matter how self-sufficient its execution may be. It is a symbol, and the more profoundly the imaginary lines of projection meet higher dimensions, the better.
All day long, I'm creative, and the second I get a little tired of any given medium, I just shut that area down and go to the next room. I just go do something else.
People say, 'Oh, to be the daughter of Picasso!' But it's not as extravagant as it seems. He was very special, very vibrant, but he was my father. I didn't have another.
When I was a child my mother said to me, 'If you become a soldier, you'll be a general. If you become a monk, you'll be the pope.' Instead I became a painter and wound up as Picasso.
Asymmetric balance creates greater reader interest. Pleasure derived from observing asymmetrical arrangements lies partly in overcoming resistances, which, consciously or not, the spectator adjusts in his own mind.
I don't follow any system. All the laws you can lay down are only so many props to be cast aside when the hour of creation arrives.
First of all, I always see the sun! The way I want to identify myself and others is with halos here and there halos, movements of color. And that, I believe, is rhythm.
