Just slap something on it when you see a blank canvas staring at you with a sort of imbecility.
It is not enough for a painter to be a clever craftsman; he must love to 'caress' his canvas, too.
An empty canvas is full only if you want it to be full.
Cover the canvas at the first go, then work at it until you see nothing more to add.
You would hardly believe how difficult it is to place a figure alone on a canvas, and to concentrate all the interest on this single and universal figure and still keep it living and real.
The canvas has an idiotic stare and mesmerises some painters so much that they turn into idiots themselves.
The tools are real. The viewer is real, you, the artist, is real and a part of everything you paint. You connect yourself to the viewer by sharing something that is inside of you that connects with something inside of him. All you have as your guide is that you know what moves you. All you have to do it with is a brush, some chemical and canvas, and technique.
The paintings to me are always canvas; sculpture has always been metal, though I have made sculpture in wood, also.
I love having played Walter because I suppose any actor brings a certain aspect of their own personality to their work, and I had a fairly broad canvas to paint on with the different versions.
Oh, popular applause! what heart of man Is proof against thy sweet seducing charms? The wisest and the best feel urgent need Of all their caution in thy gentlest gales; But swell'd into a gust--who then, alas! With all his canvas set, and inexpert, And therefore, heedless, can withstand thy power?
To end up with a canvas that is no less beautiful than the empty canvas is to begin with.
This may sound insulting to some of my cult studies friends, but there's a lot of cult studies people who ignore, shall we say, the wider canvas - because they simply don't know about its existence or they don't know how it operates.
I want to make beautiful paintings. But I don't make beautiful paintings by putting beautiful paint on a canvas with a beautiful motif. It just doesn't work. I expect my paintings to be strong and surprising.
An empty canvas, apparently really empty, that says nothing and is without significance – almost dull, in fact – in reality, is crammed with thousands of undertone tensions and full of expectancy. Slightly apprehensive lest it should be outraged.
Movies are a medium of expression like a symphony orchestra. . . or a painter's brush and canvas.
Life in itself is an empty canvas; it becomes whatsoever you paint on it. You can paint misery, you can paint bliss. This freedom is your glory.
I never retouch a sketch: I take a canvas the same size, as I may change the composition somewhat. But I always strive to give the same feeling, while carrying it on further.
When he was very excited, [John Singer] Sargent would rush at his canvas with his brush poised for attack, yelling, 'Demons, demons, demons!' When he was particularly angry or frustrated, he expressed these feelings with 'Damn,' the only curse he allowed himself. He once had the expletive inscribed on a rubber stamp so he could have the satisfaction of pounding it on a piece of paper.
I'm not videotaping my life, but in a way I am trying to put certain things about myself on canvas.
Never before had a woman put such agonizing poetry on canvas as Frida did