When you're that successful, things have a momentum, and at a certain point you can't really tell whether you have created the momentum or it's creating you.
I guess I didn't feel confident enough to be searching in a big public way. I was very content at the time to toil in obscurity on things that I thought might point me in certain directions or teach me certain things - not knowing what that would be.
It is not the language of painters but the language of nature which one should listen to, the feeling for the things themselves, for reality is more important than the feeling for pictures.
Ah, lives of men! When prosperous they glitter - Like a fair picture; when misfortune comes - A wet sponge at one blow has blurred the painting.
For an Impressionist to paint from nature is not to paint the subject, but to realize sensations.
The best way to study is to go to the Cecchetti method for about a year and draw onto all the highest points and then put that into the general method.
At some point, I would like to write a book and other things, but I work best when there is some sort of deadline in my own mind, but not when fifty people or fifty million people are breathing down the back of my neck.
To accomplish great things, we must not only act, but also dream; not only plan, but also believe.
Now I'm a painter. That was another opportunity I was able to pursue, I've been painting all my life, now it's become a second career because of my success in the movies.
It seems to me we can never give up longing and wishing while we are thoroughly alive. There are certain things we feel to be beautiful and good, and we must hunger after them.
There are neither good nor bad subjects. From the point of view of pure Art, you could almost establish it as an axiom that the subject is irrelevant, style itself being an absolute manner of seeing things.
Paint the essential character of things.
The art of mastering life is the prerequisite for all further forms of expression, whether they are paintings, sculptures, tragedies, or musical compositions.
The wise man does not expose himself needlessly to danger, since there are few things for which he cares sufficiently; but he is willing, in great crises, to give even his life - knowing that under certain conditions it is not worthwhile to live.
When you are a beginning film maker you are desperate to survive. The most important thing in the end is survival and being able to get to your next picture.
Paintings have a life of their own that derives from the painter's soul.
There's a drive in me that won't allow me to do certain things that are easy.
The painter should not paint what he sees, but what will be seen.
Our moods do not believe in each other.?To-day I am full of thoughts, and can write what I please.? I see no reason why I should not have the same thought, the same power of expression, to-morrow.? What I write, whilst I write it, seems the most natural thing in the world; but yesterday I saw a dreary vacuity in this direction in which now I see so much; and a month hence, I doubt not, I shall wonder who he was that wrote so many continuous pages.? Alas for this infirm faith, this will not strenuous, this vast ebb of a vast flow!?I am God in nature; I am a weed by the wall.
No one is an artist unless he carries his picture in his head before painting it, and is sure of his method and composition.
What is real is not the external form, but the essence of things... it is impossible for anyone to express anything essentially real by imitating its exterior surface.
It's a waste of time for people to say things they think other people want to hear, or try and come off in a certain way. I try to be as honest as I can.
A doubtful friend is worse than a certain enemy. Let a man be one thing or the other, and we then know how to meet him.
Painting is an essentially concrete art and can only consist of the representation of real and existing things.
The painter must enclose himself within his work; he must respond not with words, but with paintings.