“Everything you can imagine is real.”
“Others have seen what is and asked why. I have seen what could be and asked why not”
“Art washes away from the soul the dust of everyday life.”
“Only put off until tomorrow what you are willing to die having left undone”
“There are painters who transform the sun to a yellow spot, but there are others who with the help of their art and their intelligence, transform a yellow spot into sun”
“The chief enemy of creativity is good sense.”
“When I was a child my mother said to me, 'If you become a soldier, you'll be a general. If you become a monk, you'll be the pope.' Instead I became a painter and wound up as Picasso.”
“I am always doing that which I can not do, in order that I may learn how to do it.”
“What do you think an artist is? ...he is a political being, constantly aware of the heart breaking, passionate, or delightful things that happen in the world, shaping himself completely in their image. Painting is not done to decorate apartments. It is an instrument of war.”
“Bad artists copy. Good artists steal.”
“Inspiration exists, but it has to find you working.”
“If I paint a wild horse, you might not see the horse... but surely you will see the wildness!”
“The urge to destroy is also a creative urge.”
“It takes a very long time to become young.”
“There are only two types of women: goddesses and doormats.”
“There is no abstract art. You must always start with something. Afterward you can remove all traces of reality.”
“I do not seek. I find.”
“To draw, you must close your eyes and sing”
“Computers are useless. They can only give you answers.”
“God is really only another artist. He invented the giraffe, the elephant and the cat. He has no real style, He just goes on trying other things.”
“Youth has no age. ”
“Painting is just another way of keeping a diary.”
“It took me four years to paint like Raphael, but a lifetime to paint like a child.”
“We all know that Art is not truth. Art is a lie that makes us realize truth at least the truth that is given us to understand. The artist must know the manner whereby to convince others of the truthfulness of his lies.”
“If only we could pull out our brain and use only our eyes.”
“I'd like to live as a poor man with lots of money.”
“I paint objects as I think them, not as I see them.”
“He can who thinks he can, and he can't who thinks he can't. This is an inexorable, indisputable law.”
“We artists are indestructible; even in a prison, or in a concentration camp, I would be almighty in my own world of art, even if I had to paint my pictures with my wet tongue on the dusty floor of my cell.”
“Give me a museum and I'll fill it.”
“I begin with an idea and then it becomes something else. ”
“If I don't have red, I use blue.”
“People want to find a meaning in everything and everyone. That's the disease of our age...”
“We don't grow older we grow riper.”
“Action is the foundational key to all success. ”
“All art is erotic.”
“Every positive value has its price in negative terms... the genius of Einstein leads to Hiroshima.”
“You don't make art, you find it”
“Love is the greatest refreshment in life”
“The artist is a receptacle for emotions that come from all over the place: from the sky, from the earth, from a scrap of paper, from a passing shape, from a spider's web. ”
“Art is never chaste. It ought to be forbidden to ignorant innocents, never allowed into contact with those not sufficiently prepared. Yes, art is dangerous. Where it is chaste, it is not art.”
“Art is the elimination of the unnecessary.”
“The world doesn't make sense, so why should I paint pictures that do?”
“Colors, like features, follow the changes of the emotions. ”
“Everything is a miracle. It is a miracle that one does not melt in one's bath.”
“Painting is not made to decorate apartments. It's an offensive and defensive weapon against the enemy.
“Anything new, anything worth doing, can't be recognized.”
“Painting is stronger than me, it makes me do it's bidding.”
“Every now and then one paints a picture that seems to have opened a door and serves as a stepping stone to other things.”
“Go and do the things you can't. That is how you get to do them.”
“Some painters transform the sun into a yellow spot, others transform a yellow spot into the sun. ”
“Why do two colors, put one next to the other, sing? Can one really explain this? no. Just as one can never learn how to paint.”
“What one does is what counts. Not what one had the intention of doing.”
“Whatever the source of emotion that drives me to create, I want to give it a form which has some connection with the visible world, even if it is only to wage war on that world....I want my paintings to be able to defend themselves to resist the invader, just as though there were razor blades on all surfaces so no one could touch them without cutting his hands.”
“The more technique you have the less you have to worry about it. The more technique there is the less there is. ”
“It took me a lifetime.”
“When art critics get together they talk about Form and Structure and Meaning. When artists get together they talk about where you can buy cheap turpentine.”
“What do you think an artist is? An imbecile who only has eyes, if he is a painter, or ears if he is a musician, or a lyre in every chamber of his heart if he is a poet, or even, if he is a boxer, just his muscles? Far from it: at the same time he is also a political being, constantly aware of the heartbreaking, passionate, or delightful things that happen in the world, shaping himself completely in their image. How could it be possible to feel no interest in other people, and with a cool indifference to detach yourself from the very life which they bring to you so abundantly? No, painting is not done to decorate apartments. It is an instrument of war.”
“That inspiration comes, does not depend on me. The only thing I can do is make sure it catches me working.”
“There is only one way to see things, until someone shows us how to look at them with different eyes”
“The people who make art their business are mostly imposters.”
“Whatever You Imagine Is Real”
“I'm not a developer; I am.”
“Matisse makes a drawing, then he makes a copy of it. He copies it five times, ten times, always clarifying the line. He’s convinced that the last, the most stripped down, is the best, the purest, the definitive one; and in fact, most of the time, it was the first. In drawing, nothing is better than the first attempt.”
“Every act of creation is first of all an act of destruction." ― Pablo Picasso”
“Everybody has the same energy potential. The average person wastes his in a dozen little ways. I bring mine to bear on one thing only: my paintings, and everything else is sacrificed to it...myself included.”
“It is your work in life that is the ultimate seduction.”
“Learn the rules like a pro, so you can break them like an artist.”
“You have to have an idea of what you are going to do, but it should be a vague idea.”
“Art is a lie which makes us realize the truth.”
“Painting it's a blind man profession. Painter is painting not what he sees but what he feels.”
“We have a definite but unknown quantity of experience at our disposal. As soon as the hourglass is turned, the sand will begin to run out and once it starts, it cannot stop until it's all gone.”
“Inspiration exists, but it has to find us working.”
“I am always doing that which I cannot do, in order that I may learn how to do it.”
“Every time I change wives I should burn the last one. That way I'd be rid of them. They wouldn't be around to complicate my existence. Maybe, that would bring back my youth, too. You kill the woman and you wipe out the past she represents.”
“All Children are Artists”
“Art is not chaste. Those ill prepared should be allowed no contact with art. Art is dangerous. If it is chaste, it is not art.”
“I am always doing things I can't do, that's how I get to do them.”
“Every child is an artist. The problem is how to remain an artist once she grows up.”
“When I was a child, my mother said: "If you will be a priest, you will be pope; if you become a soldier, you will be a general." Instead, I became an artist, and so became Picasso.”
“Everyone wants to understand art. Why not try to understand the song of a bird? Why does one love the night, flowers, everything around one, without trying to understand them? But in the case of a painting people have to understand. If only they would realize above all that an artist works of necessity, that he himself is only a trifling bit of the world, and that no more importance should be attached to him than to plenty of other things which please us in the world, though we can't explain them. People who try to explain pictures are usually barking up the wrong tree.”
“An idea is a point of departure and no more. As soon as you elaborate it, it becomes transformed by thought”
Heirs of a wealthy New York art dealer were left a $65 million sculpture that might just be more trouble than its worth.
Illeana Sonnabend, who died in 2007, left an art collection worth an estimated $1 billion. But one item in particular, Robert Rauschenberg's “Canyon,” is an heir's nightmare, a lawyer's dream and an IRS conundrum. The bequest comes with a $29 million tax bill, but since the piece includes a stuffed eagle, it can't be sold, according to The New York Times.
Lawyers for Sonnabend's children and beneficiaries, Nina Sundell and Antonio Homem, are hoping federal tax collectors change their valuation of the item, since they're stuck with the piece - and the taxes on it. But for now, the IRS isn't budging, and the case may be decided by a jury.
“We are hopeful for it to be resolved before a trial,” tax attorney Ralph Lerner told FoxNews.com.
Federal law makes it a crime to possess, transport, sell or otherwise convey a bald eagle, whether it is alive or, as in this case, stuffed. Sonnabend got an informal waiver from the U.S. Fish and Wildlife Service in 1981 that allowed her to keep the piece, considered a masterwork of 20th century art. (Rauschenberg got a waiver for the artwork by showing that the bird had been killed and stuffed long before the restriction was enacted.)
Sonnabend died in 2007 at age 92. The estate tax, which at the time of Sonnabend's death stood at 50 percent on estates above $1 million, was suspended in 2010 as part of the Bush-era tax cuts, which were renewed and remain in effect until the end of this year.
Placing a value on an item that cannot be sold is no easy feat. The venerable auction house Christie’s placed the value of "Canyon" at zero. The IRS initially put it at $15 million, then jumped the figure to $65 million when Sundell and Homem refused to pay, according to The New York Times.
The IRS, which declined to comment on the matter, is not only asking for $29 million in taxes, but also an $11.7 million “gross valuation misstatement” penalty, according to Forbes.
Sundell and Homem, who could not be reached for comment Tuesday, have paid $471 million in federal and state estate taxes related to the collection and have already sold roughly $600 million worth of art to pay those taxes, Lerner told FoxNews.com.
Archeologists in Florence, Italy, have found a tomb that they say might hold the remains of Lisa Gherardini, who was immortalized in Leonardo Da Vinci's iconic 'Mona Lisa.'
Archaeologists in Florence, Italy, might have found the remains of the world's most famous artistic subject.
The Italian news agency ANSA reports that a team led by art historian Silvano Vincenti, head of the National Committee for the Enhancement of Historical, Cultural and Environmental Heritage, may have discovered a tomb in a former convent that could contain the skeleton of Lisa Gherardini, thought to be the subject of Leonardo Da Vinci's 'Mona Lisa.'
Vinceti says that, after the year 1500, only two women were buried at the medieval convent of St. Ursula: Mona Lisa Gherardini, in 1542, and another noblewoman, Maria del Riccio.
Gherardini is widely believed to have inspired the Da Vinci's iconic painting. The wife of wealthy merchant Francesco del Giocondo, she lived at the convent after her husband died, according to ANSA.
Vinceti told ABC News the bones will be tested at the University of Bologna for DNA matches to the bones of Gherardini's two sons, who were buried in Florence’s Santissima Annunziata church
Discovery News reports that the project ultimately aims to reconstruct the faces of the women buried there, perhaps even recreating Mona Lisa's mysterious smile.
"I'm confident we're going to find something," Vinceti told ANSA.
Thomas Pollock Anshutz (October 5, 1851 – June 16, 1912) was an American painter and teacher. Co-founder of The Darby School and leader at the Pennsylvania Academy of Fine Arts, Anshutz was known for his award winning portraiture work and working friendship with Thomas Eakins.
Thomas Anshutz was born in Newport, Kentucky in 1851. He grew up in Newport and Wheeling, West Virginia. His early art instruction took place at the National Academy of Design in the early 1870s, where he studied under Lemuel Wilmarth.
In 1875 he moved to Philadelphia and took a class taught by Thomas Eakins at the Philadelphia Sketch Club, a class which would solidify a close relationship and influence between Eakins and Anshutz.
In 1892 Anshutz married Effie Shriver Russell. The two spent their honeymoon in Paris, where Anshutz attended classes at Académie Julian. In 1893 they returned to Philadelphia. Later in his life he proclaimed himself a socialist. He retired from teaching in the fall of 1911 due to poor health and died on June 16, 1912.
In 1876 Anshutz and Thomas Eakins joined the Pennsylvania Academy of the Fine Arts. Eakins became Chief Demonstrator of Anatomy while Anshutz continued as his student, and the student of Christian Schussele. In 1878 Anshutz became Eakins assistant, eventually replacing Eakins as Chief Demonstrator when Eakins became Professor of Drawing and Painting. In 1880 he completed his first major work, Ironworker's Noontime, while still a student.
Ironworker's Noontime, Anshutz's most well known painting, depicts several workers on their break in the yard of a foundry. Painted near Wheeling, West Virginia, it is conceived in a naturalistic style similar to that of Eakins, although Eakins never painted industrial subjects. The piece was exhibited at the Philadelphia Sketch Club in 1881 and compared to Eakin's work by art critics. Art historian Randall C. Griffin has written of it: "One of the first American paintings to depict the bleakness of factory life, The Ironworkers' Noontime appears to be a clear indictment of industrialization. Its brutal candor startled critics, who saw it as unexpectedly confrontational—a chilling industrial snapshot not the least picturesque or sublime." It is now in the collection of the Fine Arts Museums of San Francisco.
Around 1880 Eakins became involved in photography, incorporating it into his classes and artwork. Anshutz and other artists at the Academy started to make use of the camera, posing models and students to take photos and making prints for study. Anshutz participated in Eakins The Naked Series, creating photographs featuring nude models in seven pre-defined standing poses. He also participated by modeling as well, along with other colleagues like Eakins, John Laurie Wallace and Covington Few Seiss, who would pose outdoors nude, often wrestling, swimming and boxing. Eadweard Muybridge eventually made his way to Philadelphia and Anshutz and Eakins helped build Muybridge's zoopraxiscope.
Eakins was dismissed from his position in 1886 and Anshutz took over as art instruction leader at the Academy. Anshutz would briefly travel to Europe, focusing primarily on his teaching in Philadelphia. Numerous artists studied under Anshutz, including George Luks, Charles Demuth, John Sloan, Charles Sheeler, Everett Shinn, John Marin, William Glackens, and Robert Henri.
As a teacher, Anshutz, according to art historian Sanford Schwartz, "was known as much for his approachability as his sarcasm, which apparently wasn't of the withering variety."
The Anshutz family regularly vacationed in Holly Beach, New Jersey which served as a creative place for the painter. There he experimented with watercolors, bright color palette, and simple compositions. He also photographed the natural environment, utilizing the images as studies for paintings, specifically Holly Beach and trips down the Delaware and Maurice rivers. Although Anshutz experimented persistently with landscape painting, he was more well known for his portraiture, which won him numerous awards in the 1890s and 1900s.
In 1898 he and Hugh Breckenridge co-founded the Darby School, a summer school outside of Philadelphia which emphasized plein air painting. At Darby Anshutz created his most abstract works, a series of bright oil landscape paintings that were never exhibited. He continued to participate at Darby until 1910. He served as a member of the National Academy of Design and president of the Philadelphia Sketch Club.
In 1971 Robert and Joy McCarty, who lived in the home formerly owned by the Anshutz family in Fort Washington, Pennsylvania, donated a portion of letters, glass negatives, and photographs to the Archives of American Art. A second donation from the Anshutz family took place in 1971 and 1972, which were microfilmed and returned to the family.
Strangely, stolen Salvador Dali painting reappears by mail
Recovering stolen masterpieces can sometimes take years of police sleuthing. But in the case of a recently pilfered Salvador Dali painting, a resolution has come swiftly, if somewhat mysteriously.
Dali's "Cartel de Don Juan Tenirio" was recently mailed back to the New York gallery from which it was stolen June 19. The parcel, which the gallery received on Friday, was mailed from Greece, according to the New York Post, which was the first to report the bizarre return.
The culprit remains unknown, and the return address on the parcel is believed to be fake.
A surveillance video captured an unidentified man in the gallery around the same time the painting was believed to have been taken from a wall. The gallery is the Venus over Manhattan, located in the Upper East Side neighborhood of New York. The theft took place during business hours.
The painting has an estimated value of $150,000. The Post reported that police investigators and the gallery have confirmed the authenticity of the work.
The Post reported that the gallery received an email from an unknown sender earlier last week saying that the painting was being sent back.
The sudden reappearance of stolen art is not without precedent. Last year, a drawing that was attributed to Rembrandt was stolen from a hotel in Marina del Rey, only to resurface a few days later at a church in Encino.
Experts later cast doubt on the authenticity of that Rembrandt drawing.
The Rembrandt drawing that was stolen last weekend from a Marina del Rey hotel and then mysteriously reappeared just days later at a church in Encino has left many questions unanswered. Who stole it? Why was it returned? Now some experts are questioning whether the small work is an authentic Rembrandt, according to a report Friday on The Times' L.A. Now blog.
The drawing's owner, the Linearis Institute, maintains that the work, titled "The Judgment," is authentic. But The Times said that it has interviewed art experts who cast doubt on its provenance.
The Times said it has reviewed the six-volume catalog of Rembrandt's work by Otto Benesch, and that the drawing was not included. It also said the drawing does not appear on a list of 70 authenticated, signed Rembrandt drawings compiled by scholar Peter Schatborn.
The Associated Press reports that the painting, "The Boy in the Red Vest," was stolen from a private Swiss museum in 2008, along with three other paintings by Claude Monet, Vincent van Gogh and Edgar Degas.
Zurich prosecutors said three men were arrested in Belgrade in connection with the robbery.
Cezanne's painting was worth 100 million Swiss francs (about $107 million), when it was taken from the EG Buhrle Collection.
Monet's "Poppy Field at Vetheuil" and Van Gogh's "Blooming Chestnut Branches" were found undamaged in a car parked at a mental hospital shortly after the heist.
The fourth, Degas’ "Ludovic Lepic and His Daughter,” has not been recovered. The masterpiece is worth 10 million francs ($11 million).