Edward Hopper Quotes
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If you could say it in words there would be no reason to paint.
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I guess I'm not very human. All I really want to do is paint light on the side of a house.
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The only quality that endures in art is a personal vision of the world. Methods are transient: personality is enduring.
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I think that zinc white has a property of scaling and cracking.
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Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world.
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When I don't feel in the mood for painting I go to the movies for a week or more. I go on a regular movie binge!
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What I wanted to do was to paint sunlight on the side of a house.
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So much of every art is an expression of the subconscious that it seems to me most of all the important qualities are put there unconsciously, and little of importance by the conscious intellect. But these are things for the psychologist to untangle.
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I trust Winsor and Newton and I paint directly upon it.
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The trend in some of the contemporary movements in art, but by no means all, seems to deny this ideal and to me appears to lead to a purely decorative conception of painting.
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After all, we are not French and never can be, and any attempt to be so is to deny our inheritance and to try to impose upon ourselves a character that can be nothing but a veneer upon the surface.
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I find linseed oil and white lead the most satisfactory mediums.
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Well, I have a very simple method of painting.
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It's to paint directly on the canvas without any funny business, as it were, and I use almost pure turpentine to start with, adding oil as I go along until the medium becomes pure oil. I use as little oil as I can possibly help, and that's my method.
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I have tried to present my sensations in what is the most congenial and impressive form possible to me.
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If the picture needs varnishing later, I allow a restorer to do that, if there's any restoring necessary.
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The idea (for the painting 'Room in New York', 1932, ed.) had been in my mind a long time before I painted it. It was suggested by glimpses of lighted interiors seen as I walked along city streets at night, probably near the district where I live (Washington Square, New York, fh) although it's no particular street or house, but is really a synthesis of many impressions.
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Yes, linseed oil. I used to use poppy oil, but I have heard that poppy oil is given to cracking pigment too, so I use it no longer.
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If I had the energy, I would have done it all over the county.
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In general it can be said that a nation's art is greatest when it most reflects the character of its people.
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No amount of skillful invention can replace the essential element of imagination.
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There is a sort of elation about sunlight on the upper part of a house.
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I find in working always the disturbing intrusion of elements not a part of my most interested vision, and the inevitable obliteration and replacement of this vision by the work itself as it proceeds.
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If the technical innovations of the Impressionists led merely to a more accurate representation of nature, it was perhaps of not much value in enlarging their powers of expression.
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I use a retouching varnish which is made in France, Libert, and that's all the varnish I use.
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Well, I've always been interested in approaching a big city in a train, and I can't exactly describe the sensations, but they're entirely human and perhaps have nothing to do with aesthetics.
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The only real influence I've ever had was myself.
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There will be, I think, an attempt to grasp again the surprise and accidents of nature and a more intimate and sympathetic study of its moods, together with a renewed wonder and humility on the part of such as are still capable of these basic reactions.
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To me the most important thing is the sense of going on. You know how beautiful things are when you're traveling.
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So many people say painting is fun. I don't find it fun at all. It's hard work for me.
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