Andrew Wyeth Quotes

If you clean it up, get analytical, all the subtle joy and emotion you felt in the first place goes flying out the window.

Believe in yourself and believe in love. Love something.

I've never studied the Japanese. That's something that must have crept in there. But the Japanese are my biggest clients. They seem to like the elemental quality.

My pencil is like a fencer's foil.

I prefer winter and fall, when you can feel the bone structure in the landscape
the lonliness of it
the dead feeling of winter. Something waits beneath it
the whole story dosen't show.

If it [talent] isn't strong enough to take the gaff of real training, then it's not worth much.

I don't think that there is anything that is really magical unless it has a terrifying quality.

Artists today think of everything they do as a work of art. It is important to forget about what you are doing - then a work of art may happen.

I think anything like that-
which is contemplative, silent, shows a person alone-
people always feel sad. Is it because we've lost the art of being alone?

I wanted to get it all down, maybe out of my system. I wanted to be able to say, Everything's possible-if you believe and can get excited.

And, of course, I began drawing so much - wild, undisciplined pencil drawings and watercolors of knights battling and such.

When you lose your simplicity, you lose your drama.

It's all in how you arrange the thing ... the careful balance of the design is the motion.

God, I've frozen my ass off painting snow scenes!

You think you're developing and getting better and then you see something you did years ago. Looking at your early work.. sometimes it has a depth that surprises you.

I don't really have studios. I wander around around people's attics, out in fields, in cellars, anyplace I find that invites me.

Most artists look for something fresh to paint; frankly I find that quite boring. For me it is much more exciting to find fresh meaning in something familiar.

The most irritating experience for an artist is to have his work criticized before it is finished.

I am not a juicy painter.

I dream a lot. I do more painting when I'm not painting. It's in the subconscious.

I think one's art goes as far and as deep as one's love goes. I see no reason for painting but that. If I have anything to offer, it is my emotional contact with the place where I live and the people I do.

To have all your life's work and to have them along the wall, it's like walking in with no clothes on. It's terrible.

My aim is not to exhibit craft, but rather to submerge it, and make it rightfully the handmaiden of beauty, power and emotional content.

I do an awful lot of thinking and dreaming about things in the past and the future - the timelessness of the rocks and the hills - all the people who have existed there. I prefer winter and fall, when you feel the bone structure of the landscape - the loneliness of it, the dead feeling of winter. Something waits beneath it, the whole story doesn't show.

I get letters from people about my work. The thing that pleases me most is that my work touches their feelings. In fact, they don't talk about the paintings. They end up telling me the story of their life or how their father died.

I've tried never to be easily satisfied, and I've been painting like fury now for forty years ... I have a feeling. You paint about as far as your emotions go, and that's about it.

At 18 I began painting steadily fulltime and at age 20 had my first New York show at the Macbeth Gallery.

To be interested solely in technique would be a very superficial thing to me.

With watercolour, you can pick up the atmosphere, the temperature, the sound of snow shifting through the trees or over the ice of a small pond or against a windowpane. Watercolour perfectly expresses the free side of my nature.

I can't work completely out of my imagination. I must put my foot in a bit of truth; and then I can fly free.

Really, I think one's art goes only as far and as deep as your love goes

It's a shock for me to go through and see all those years of painting my life, which is very personal for me. It's a very difficult thing for an artist to look back at his work.

If somehow I can, before I leave this earth, combine my absolutely mad freedom and excitement with truth, then I will have done something.

I think a person permeates a spot, and a lost presence makes the environment timeless to me, keeps an area alive. It pulsates because of that.

My aim is to escape from the medium with which I work; to leave no residue of technical mannerisms to stand between my expression and the observer. To seek freedom through significant form and design rather than through the diversion of so-called free and accidental brush handling.