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Chuck Close Quotes





All the fingerprint paintings are done without a grid.
 

I always thought that one of the reasons why a painter likes especially to have other painters look at his or her work is the shared experience of having pushed paint around.
 

I did some pastels and I did other pieces in which there was just basically one color per square, and then they would get bigger and I could get 2 or 3 colors into the square, and ultimately I just started making oil paintings.
 

I discovered about 150 dots is the minimum number of dots to make a specific recognizable person. You can make something that looks like a head, with fewer dots, but you won't be able to give much information about who it is.
 

I think most paintings are a record of the decisions that the artist made. I just perhaps make them a little clearer than some people have.
 

I wanted to translate from one flat surface to another. In fact, my learning disabilities controlled a lot of things. I don't recognize faces, so I'm sure it's what drove me to portraits in the first place.
 

I'm plagued with indecision in my life. I can't figure out what to order in a restaurant.
 

I'm very learning-disabled, and I think it drove me to what I'm doing.
 

It doesn't upset artists to find out that artists used lenses or mirrors or other aids, but it certainly does upset the art historians.
 

It's always a pleasure to talk about someone else's work.
 

Most people are good at too many things. And when you say someone is focused, more often than not what you actually mean is they're very narrow.
 

Painting is the most magical of mediums. The transcendence is truly amazing to me every time I go to a museum and I see how somebody figured another way to rub colored dirt on a flat surface and make space where there is no space or make you think of a life experience.
 

Part of the joy of looking at art is getting in sync in some ways with the decision-making process that the artist used and the record that's embedded in the work.
 

Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.
 

Sometimes I really want to paint somebody and I don't get a photograph that I want to work from.
 

What difference does it make whether you're looking at a photograph or looking at a still life in front of you? You still have to look.
 

You know, the way art history is taught, often there's nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.