The painter must give a completely free rein to any feeling or sensations he may have and reject nothing to which he is naturally drawn.
I paint people not because of what they are like, not exactly in spite of what they are like, but how they happen to be.
I would wish my portraits to be of the people, not like them. Not having a look of the sitter, being them.
I paint people not because of what they are like... but how they happen to be.
A painter's tastes must grow out of what so obsesses him in life that he never has to ask himself what it is suitable for him to do in art.
There is a distinction between fact and truth. Truth has an element of revelation about it. If something is true, it does more than strike one as merely being so.
When I look at a body I know it gives me choices of what to put in a painting; what will suit me and what won't. There is a distinction between fact and truth. Truth has an element of revelation about it. If something is true, it does more than strike one as merely being so.
I am only interested in painting the actual person, in doing a painting of them, not in using them to some ulterior end of art. For me, to use someone doing something not native to them would be wrong.
I remember Francis Bacon would say that he felt he was giving art what he thought it previously lacked. With me, it's what Yeats called the fascination with what's difficult. I'm only trying to do what I can't do.
The character of the artist doesn't enter into the nature of the art.
Painting is sometimes like those recipes where you do all manner of elaborate things to a duck, and then end up putting it on one side and only using the skin.
As far as I am concerned the paint is the person. I want it to work for me just as flesh does.
I want paint to work as flesh.
My work is purely autobiographical... It is about myself and my surroundings.
The painter's obsession with his subject is all that he needs to drive him to work.