Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?
Judging your early artistic efforts is artist abuse. . . Remember that in order to recover as an artist, you must be willing to be a bad artist. Give yourself permission to be a beginner. By being willing to be a bad artist, you have a chance to be an artist, and perhaps, over time, a very good one
I don't think you have to earn your income as an artist to be an artist. But if you are an artist, then art is what you do, whether or not you're paid for doing it; it is what you do, not what you are. I regard artist not as a description of temperament but as a category of profession, of vocation.
As an artist, illustrator, and photographer, most of my daily work was formed around the Art & Entertainment business, which was about packaging ideas that looked like they were crafted as artist ideas. In the distributed products, my artist credit was hidden inside the package of the artist or entertainment personality.
John Van Hamersveld
An artist is above all a human being, profoundly human to the core. If the artist can't feel everything that humanity feels, if the artist isn't capable of loving until he forgets himself and sacrifices himself if necessary, if he won't put down his magic brush and head the fight against the oppressor, then he isn't a great artist.
The artist usually sets out -- or used to -- to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.
D. H. Lawrence
The artist usually sets out - or used to - to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.
There's no "correct path" to becoming a real artist. You might think you'll gain legitimacy by going to university, getting published, getting signed to a record label. But it's all bullshit, and it's all in your head. You're an artist when you say you are. And you're a good artist when you make somebody else experience or feel something deep or unexpected.
I think a 23-page ordinary comic is an investment for the artist, but if you're doing something 60 to 104 pages, that's a really big investment for an artist. So unless you've got someone who wants to pay you while you're doing it or up front, it's kind hard to get someone to do that with you, unless you're the artist yourself.
Samuel R. Delany
Being an artist doesn't just mean you have a song. That doesn't make you an artist. The word 'artist' means so many different things, and I feel like to be a real one, you really have to do it all. The people that I think of as artists - Tyler the Creator, Childish Gambino, Kanye West - are doing the most.
Remember: It costs nothing to encourage an artist, and the potential benefits are staggering. A pat on the back to an artist now could one day result in your favorite film, or the cartoon you love to get stoned watching, or the song that saves your life. Discourage an artist, you get absolutely nothing in return, ever.
Exhibitions of minority art are often intended to make the minority itself more aware of its collective experience. Reinforcing the common memory of miseries and triumphs will, it is expected, strengthen the unity of the group and its determination to achieve a better future. But emphasizing shared experience as opposed to the artist's consciousness of self (which includes his personal and unshared experience of masterpieces) brings to the fore the tension in the individual artist between being an artist and being a minority artist.
This highest kind of truth is never something the artist takes as given. It's not his point of departure but his goal. Though the artist has beliefs, like other people, he realizes that a salient characteristic of art is its radical openness to persuasion. Even those beliefs he's surest of, the artist puts under pressure to see if they will stand.
I learned how difficult it is to be an artist. There are always compromises. The record company wants you to do this, your fans want you to do this, your family, you can't concentrate on your work. It's a hard thing to be an artist and not give up. That's why I have so much respect for people like Dylan and Neil Young and Tom Waits, because they keep at it. I have a new respect for a true artist.
The real importance of automatism lay in the fact that it led to a different relation between the artist and the creative act. Where the artist had traditionally been seen as someone who invents a personal world, bringing into being something unique to his own 'genius', the surrealists conceived themselves as explorers and researchers rather than 'artist' in the traditional sense and it was discovery rather than invention that became crucial for them.
When the artist is truly the servant of the work, the work is better than the artist; Shakespeare knew how to listen to his work, and so he often wrote better than he could write; Bach composed more deeply, more truly than he knew, Rembrandt's brush put more of the human spirit on canvas than Rembrandt could comprehend. When the work takes over, then the artist is enabled to get out of the way, not to interfere. When the work takes over, then the artist listens.
I don't believe in total freedom for the artist. Left on his own, free to do anything he likes, the artist ends up doing nothing at all. If there's one thing that's dangerous for an artist, it's precisely this question of total freedom, waiting for inspiration and all the rest of it.
I would advise puppeteering for any artist. It's a way to break down pretensions. It's a sculpture that can talk. It's a painting that can talk. And it's pure play. I think every artist needs to stay in touch with the idea of playing. The artist should always be playing, always. All art is performance.
When I taught art, I was always asked, 'How do you know you're an artist? What makes you an artist?' And to me, it's like breathing. You don't question if you breathe; you have to breathe. So if you wake up in the morning, and you have to realize an idea, and there's another idea, and another, maybe you are really an artist.
To question the world around us and all its complexities is not blasphamy, but simply using the mind God gave us for its intended purpous. God is an artist. Artist do not create to have someone just glance and say "That is pretty." Artist want viewers to look closer, deeper-to really see what they have created-not just glance.
The best art is not always the most popular art, and the most popular art is never truly the best art. The best art is that which is streamed through God. And the worst art is that which is void of God. The master artist of the universe is the Creator of All Things, and his reflection is in all of us. Only the artist who is aware that he is a reflection of that greatness, and that creativity is supreme love, is a true divine artist. Even if he is not the most popular artist, he will be very popular among the stars of His universe. That is the master artist, one who uses his talents to serve as a vehicle of God. In his work, you hear God's voice and see with His eyes.
An artist is identical with an anarchist, ' he cried. 'You might transpose the words anywhere. An anarchist is an artist. The man who throws a bomb is an artist, because he prefers a great moment to everything. He sees how much more valuable is one burst of blazing light, one peal of perfect thunder, than the mere common bodies of a few shapeless policemen. An artist disregards all governments, abolishes all conventions. The poet delights in disorder only. If it were not so, the most poetical thing in the world would be the Underground Railway.' 'So it is, ' said Mr. Syme. 'Nonsense!' said Gregory, who was very rational when any one else attempted paradox.
I am an artist. Any artist knows that their creations, their pieces must express an array of human emotion and experience. From the juvenile and innocent, to the erotic and the dangerous, and everything in between. Because Life is all of these things and more. It is the artist's divine purpose to reflect what Experience has shown them and others. What truly sets us apart from each other is whether or not we truly know ourselves enough to reflect objectively; but, through our own unique 'voice'.
When I was setting out to be an artist, I said: If I can just produce one work that some people think is good, if I can become an obscure cult artist, that's all I want. Well, I attained that. I'm an obscure cult artist, and I think now, Why didn't I say I want to be another Picasso or something? What other options were open to me? But I was convinced I couldn't achieve great things because I don't have a steady-state mind.
The purity of finding the right artist, that artist that's gonna be the next hall of famer, that artist that's gonna be the next headliner, lifting people out of their seats at Madison Square Garden, that song that's gonna be sung for hundreds and hundreds of years, that essence remains the same.
I feel ever so strongly that an artist must be nourished by his passions and his despairs. These things alter an artist whether for the good or the better or the worse. It must alter him. The feelings of desperation and unhappiness are more useful to an artist than the feeling of contentment, because desperation and unhappiness stretch your whole sensibility.
Because the artist deals in future realities, he always seeks improvements or changes in the existing reality. This makes the artist, inevitably and invariably, a rebel against the status quo. The artist, day by day, by postulating the new realities of the future, accomplishes peaceful revolution.
L. Ron Hubbard
[The artist's aim is] not to instruct the viewer, but to give him information... . The artist would follow his predetermined premise to its conclusion, avoiding subjectivity. Chance, taste, or unconsciously remembered forms would play no part in the outcome. The serial artist does not attempt to produce a beautiful or mysterious object but functions merely as a clerk cataloguing the results of his premise.
The trouble with science fiction is that you can write about everything: time, space, all the future, all the past, all of the universe, any kind of creature imaginable. That's too big. It provides no focus for the artist. An artist needs, in order to function, some narrowing of focus. Usually, in the history of art, the narrower the focus in which the artist is forced to work, the greater the art.
Philip J. Klass
Just let the artist sign an empty canvas or a frame, with the inscription, 'I had such and such a concept in mind' for this work. The artist then need not bother with producing the work, and therefore need not be worried about being dis-satisfied. All he or she needs to do is to sell it to a collector. The collector will have the guarantee that the artist thought about the work, even if momentarily, and therefore be satisfied.
There's an idea that it's hard to be a woman artist. People assume that women have fewer opportunities, less power. But it's not any harder to be a woman artist than to be a male artist. We all take what we are given and use the parts of ourselves that feed the work. We make our way. Photographers, men and women, are particularly lucky. Photography lets you find yourself. It is a passport to people and places and to possibilities.
To be an artist it is not necessary to make a living from our creations. Nor is it necessary to have work hanging in fine museums or the praise of critics . . . To be an artist it is necessary to live with our eyes wide open, to breathe in the colors of mountain and sky, to know the sound of leaves rustling, the smell of snow, the texture of bark . . . To be an artist is to notice every beautiful and tragic thing, to cry freely, to collect experience and shape it into forms that others can share.
An artist requires the upkeep of creative solitude. An artist requires the healing of time alone. Without this period of recharging, our artist becomes depleted. Until we experience the freedom of solitude, we cannot connect authentically. We may be enmeshed, but we are not encountered. Art lies in the moment of encounter. We meet our truth and we meet ourselves and we meet our self-expression.
Every great artist must begin by learning to draw with the single line, and my advice to young animators is to learn how to live with that razor-sharp instrument or art. An artist who comes to me with eight or ten good drawings of the human figure in simple lines has a good chance of being hired. But I will tell the artist who comes with a bunch of drawings of Bugs Bunny to go back and learn how to draw the human body. An artist who knows that can learn how to draw ANYTHING, including Bugs Bunny.
I think he is the ornament of society! Oh, there is not just one role for the artist in society. He has many roles and he has a different role as society changes, and in different societies... He can be a seer at times, and in the eighteenth century he was the satirist, the artist stepping back and holding up the mirror to society. Moreover, I don't think the same kind of person is necessarily an artist or a poet in one century as another.
Those who speak in spiritual terms routinely refer to God as creator but seldom see "creator" as the literal term for "artist". I am suggesting you take the term "creator" quite literally. You are seeking to forge a creative alliance, artist-to-artist with the Great Creator. Accepting this concept can greatly expand your creative possibilities.