Jacques Lipchitz Quotes

It's fun to see how other artists adapt my work.

In their pursuit of the same supreme end, Matisse and Picasso stand side by side, Matisse representing color and Picasso form.

There is a relationship between cartooning and people like Mir= and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney.

The more I get to know more artists, the more they inspire me.

I don't think there's anything really wrong with influence because I think that one can use another man's art as material either literally or just implying that they're doing that, without it representing a lack of a point of view.

I feel that every professional is the art school for the next guy. I feel that maybe a lot of the dynamism in my own work, having been felt by the rest of the artists, they'll react to it and put elements of that in their own work, feeling that it'll help it.

You can never tell when an artist really will take up someone's work and work with it happily.

The paintings by Van Gough and Chagall had a big influence on me.

So much of what we do as artists is a combination of personal experience and imagination, and how that all creeps into your work is not so linear.

Music is an art form too. Sometimes other forms of art can be inspiring to the musician.

It's intimidating any time to have a piece of art that someone else created, and that person says, 'Let's see what you created based on what I created.'

I love being around great artists, and I've been around a few of them.

Movies affecting music has caused me to collaborate a little bit better.

We are the two great painters of this era; you are in the Egyptian style, I in themodern style. (to Pablo Picasso)

One musician listens to another musician, and you get inspired and then you do your thing, but it's yours.

What I love about making movies is that it's a collaboration. It's one of the most rewarding things, to create something and have someone show you something that you didn't see, and vice versa.

I don't believe in originality in art. I think we exist on this earth to inspire each other, through our actions, through our deeds, and through who we are. We're always borrowing.

You know if I see a work that really I am very affected by and inspired by then it makes me want to try things with my work that maybe I hadn't considered trying before and I think that is the biggest complement that you can pay somebody.

My inspiration came from the land, ... and, of course, from Paul Klee . . . and the poetics of his paintings.

When I go and write with other artists - a lot of the time it's with them - it's like a therapy session almost. I ask them what they're listening to and what they're going through and what their influences are and I try to get inside of their head and step into their shoes for a second.

The artist and his work are not to be separated. The most willfully foolish man cannot stand aloof from his folly, but the deed and the doer together make ever one sober fact.

I consider it a great honour that my movie Drive inspired so many wonderful artists to come together and create one ultra-cool glam experience.

The best of artists hath no thought to show which the rough stone in its superfluous shell doth not include; to break the marble spell is all the hand that serves the brain can do.

How much the work of an artist owes to an art movement to which he belongs can never be determined exactly, if only because the movement derives its character from the individual creations of its members.

I'm usually the last to see my influence in other people's work. People give me stuff and say "Oh look, this guy's ripping you off," and I'm like "What do you mean?" Often I see the people that I've ripped off filtered into my own work. In other people's work, I can only see specific, tiny little instances of inflections stolen from another artist.