मैं किसी पेंटिंग से क्या उम्मीद रखता हूँ? मैं चाहता हूँ कि वह हैरान करे, झकझोर दे, आकर्षित करे और यकीन दिलाए।
What do I ask of a painting? I ask it to astonish, disturb, seduce, convince.
What do I ask of a painting? I ask it to astonish, disturb, seduce, convince.
कलाकार का काम इंसानी मन को असहज करना है।
The task of the artist is to make the human being uncomfortable.
The task of the artist is to make the human being uncomfortable.
चित्रकार अपनी उन सभी चीज़ों से जुड़ी गहरी भावनाओं को दूसरों के लिए जीवंत कर देता है जिसकी वह परवाह करता है। तस्वीर देखने वाले हर व्यक्ति को उसकी शिद्दत से एक अनकहा राज़ मालूम हो जाता है।
The painter makes real to others his innermost feelings about all that he cares for. A secret becomes known to everyone who views the picture through the intensity with which it is felt.
The painter makes real to others his innermost feelings about all that he cares for. A secret becomes known to everyone who views the picture through the intensity with which it is felt.
आप किसी चीज़ को जितनी देर तक देखते हैं, वह उतनी ही अमूर्त होती जाती है, और विडंबना यह है कि उतनी ही असली भी।
The longer you look at an object, the more abstract it becomes, and, ironically, the more real.
The longer you look at an object, the more abstract it becomes, and, ironically, the more real.
किसी व्यक्ति या वस्तु से निकलने वाला प्रभामंडल (औरा) उसके मांस की तरह ही उसका एक हिस्सा होता है। अंतरिक्ष में उसका जो प्रभाव पड़ता है, वह उसके रंग या गंध जितना ही उससे जुड़ा होता है... इसलिए चित्रकार को अपने विषय के आस-पास की हवा की उतनी ही फिक्र होनी जितनी खुद विषय की। माहौल को महसूस करके और समझकर ही वह उस अहसास को उतार सकता है जो वह अपनी पेंटिंग से झलकाना चाहता है।
The aura given out by a person or object is as much a part of them as their flesh. The effect that they make in space is as bound up with them as might be their colour or smell ... Therefore the painter must be as concerned with the air surrounding his subject as with the subject itself. It is through observation and perception of atmosphere that he can register the feeling that he wishes his painting to give out.
The aura given out by a person or object is as much a part of them as their flesh. The effect that they make in space is as bound up with them as might be their colour or smell ... Therefore the painter must be as concerned with the air surrounding his subject as with the subject itself. It is through observation and perception of atmosphere that he can register the feeling that he wishes his painting to give out.
मैं हमेशा से अपनी तस्वीरों में ड्रामा पैदा करना चाहता था, इसीलिए मैं इंसानों की पेंटिंग बनाता हूँ। शुरुआत से ही इंसानों ने तस्वीरों में ड्रामा पैदा किया है। सबसे छोटे इंसानी इशारे भी कहानियाँ कह जाते हैं।
I've always wanted to create drama in my pictures, which is why I paint people. It's people who have brought drama to pictures from the beginning. The simplest human gestures tell stories.
I've always wanted to create drama in my pictures, which is why I paint people. It's people who have brought drama to pictures from the beginning. The simplest human gestures tell stories.
मैं लोगों की पेंटिंग उनके रूप-रंग की वजह से नहीं बनाता, और न ही ठीक उनके विपरीत, बल्कि वे जैसे हैं, बस वैसे ही।
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 paint people, not because of what they are like, not exactly in spite of what they are like, but how they happen to be.
मैं चटख और गहरे रंगों के भावनात्मक असर से बचना चाहता हूँ।
Full, saturated colours have an emotional significance I want to avoid.
Full, saturated colours have an emotional significance I want to avoid.
मैं चाहता हूँ कि रंग मांस की तरह काम करें... मेरे पोर्ट्रेट्स उन लोगों के जैसे न दिखें, बल्कि वही बन जाएँ। मॉडल जैसी शक्ल होने के बजाय, वे खुद वही इंसान बन जाएँ... जहाँ तक मेरा सवाल है, रंग ही वह इंसान है। मैं चाहता हूँ कि वह मेरे लिए बिल्कुल मांस की तरह काम करे।
I want paint to work as flesh... my portraits to be of the people, not like them. Not having a look of the sitter, being them ... 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 portraits to be of the people, not like them. Not having a look of the sitter, being them ... As far as I am concerned the paint is the person. I want it to work for me just as flesh does.
हर सुबह उठने की सिर्फ एक ही वजह होती है: पेंट करना, कुछ बेहतरीन बनाना, पहले से भी बेहतर बनाना, हार न मानना, मुकाबला करना और महत्वाकांक्षी होना।
It is the only point of getting up every morning: to paint, to make something good, to make something even better than before, not to give up, to compete, to be ambitious.
It is the only point of getting up every morning: to paint, to make something good, to make something even better than before, not to give up, to compete, to be ambitious.
किसी व्यक्ति या वस्तु से निकलने वाला प्रभामंडल उसके शरीर के मांस की तरह ही उसका एक अभिन्न हिस्सा होता है।
The aura given out by a person or object is as much a part of them as their flesh.
The aura given out by a person or object is as much a part of them as their flesh.
कलाकृति बनाते समय कभी भी पूरी खुशी का पल नहीं आता। इसकी उम्मीद सृजन के दौरान महसूस होती है, लेकिन जैसे-जैसे काम पूरा होने लगता है, वह गायब हो जाती है। क्योंकि तभी चित्रकार को एहसास होता है कि वह सिर्फ एक तस्वीर बना रहा है। तब तक उसने लगभग यह उम्मीद लगा ली होती है कि तस्वीर शायद सचमुच जीवित हो उठेगी।
A moment of complete happiness never occurs in the creation of a work of art. The promise of it is felt in the act of creation but disappears towards the completion of the work. For it is then the painter realises that it is only a picture he is painting. Until then he had almost dared to hope the picture might spring to life.
A moment of complete happiness never occurs in the creation of a work of art. The promise of it is felt in the act of creation but disappears towards the completion of the work. For it is then the painter realises that it is only a picture he is painting. Until then he had almost dared to hope the picture might spring to life.
मेरा काम पूरी तरह से मेरी अपनी आत्मकथा जैसा है... यह मेरे बारे में और मेरे आस-पास के माहौल के बारे में है।
My work is purely autobiographical... It is about myself and my surroundings.
My work is purely autobiographical... It is about myself and my surroundings.
पेंटिंग कभी-कभी उन व्यंजनों की तरह होती है जहाँ आप बत्तख के साथ तमाम तरह के झंझट भरे काम करते हैं, और अंत में उसे एक तरफ रख कर सिर्फ उसकी खाल का इस्तेमाल करते हैं।
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.
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.
चित्रकार को अपने मन में उठने वाली किसी भी भावना या संवेदना को पूरी आज़ादी देनी चाहिए और जिस चीज़ की तरफ भी उसका स्वाभाविक खिंचाव हो, उसे कभी अस्वीकार नहीं करना चाहिए।
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.
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.
मुझे याद है फ्रांसिस बेकन कहा करते थे कि उन्हें महसूस होता है कि वे कला को वह दे रहे हैं जिसकी उसे पहले कमी खलती थी। जहाँ तक मेरा सवाल है, यह वही है जिसे येट्स ने 'मुश्किल चीज़ों का आकर्षण' कहा है। मैं बस वही करने की कोशिश कर रहा हूँ जो मैं नहीं कर सकता।
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.
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.
मैं चाहूँगा कि मेरे पोर्ट्रेट्स लोगों जैसे दिखने के बजाय खुद वही लोग बन जाएँ। मॉडल जैसी शक्ल होने के ठीक उलट, वे खुद वही इंसान लगें।
I would wish my portraits to be of the people, not like them. Not having a look of the sitter, being them.
I would wish my portraits to be of the people, not like them. Not having a look of the sitter, being them.
मैं तस्वीर में कभी भी ऐसी कोई चीज़ नहीं डाल सकता जो वास्तव में मेरे सामने मौजूद न हो। यह एक बेमतलब का झूठ होगा, महज़ कलाकारी का दिखावा।
I could never put anything into a picture that wasn't actually there in front of me. That would be a pointless lie, a mere bit of artfulness.
I could never put anything into a picture that wasn't actually there in front of me. That would be a pointless lie, a mere bit of artfulness.
जहाँ तक मेरा सवाल है, रंग ही वह इंसान है। मैं चाहता हूँ कि वह मेरे लिए बिल्कुल मांस की तरह काम करे।
As far as I am concerned the paint is the person. I want it to work for me just as flesh does
As far as I am concerned the paint is the person. I want it to work for me just as flesh does
मुझे लगता है कि पेंटिंग बनाने का आधा मज़ा इसी बात में है कि आपको पता नहीं होता कि आगे क्या होने वाला है... अगर चित्रकारों को पहले से पता हो कि क्या होने वाला है, तो वे कभी पेंटिंग बनाने की ज़हमत ही न उठाएँ।
I think half the point of painting a picture is that you don't know what will happen... that if painters did know what was going to happen they wouldn't bother to do it.
I think half the point of painting a picture is that you don't know what will happen... that if painters did know what was going to happen they wouldn't bother to do it.
मैं नहीं चाहता कि कोई भी रंग अलग से नज़र आए... मैं नहीं चाहता कि वह आधुनिकतावादी तरीके से एक स्वतंत्र रंग के रूप में काम करे... मैं चटख और गहरे रंगों के भावनात्मक असर से बचना जो चाहता हूँ, उससे दूर रहना चाहता हूँ।
I don't want any colour to be noticeable... I don't want it to operate in the modernist sense as colour, something independent... Full, saturated colours have an emotional significance I want to avoid.
I don't want any colour to be noticeable... I don't want it to operate in the modernist sense as colour, something independent... Full, saturated colours have an emotional significance I want to avoid.
एक चित्रकार को जो कुछ भी वह देखता है, उसे ऐसा मानना चाहिए मानो वह पूरी तरह से केवल उसके अपने इस्तेमाल और आनंद के लिए है।
A painter must think of everything he sees as being there entirely for his own use and pleasure.
A painter must think of everything he sees as being there entirely for his own use and pleasure.
कलाकार का व्यक्तित्व उसकी कला के स्वभाव में शामिल नहीं होता। इलियट ने कहा था कि कला व्यक्तित्व से पलायन है, जो कि मुझे सही लगता है। हम जानते हैं कि वेलास्केज़ ने स्पेनिश दरबार से पैसे की हेराफेरी की थी और उन्हें सत्ता की भूख थी वगैरह-वगैरह, लेकिन आप उनकी कला में यह सब नहीं देख सकते।
The character of the artist doesn't enter into the nature of the art. Eliot said that art is the escape from personality, which I think is right. We know that Velázquez embezzled money from the Spanish court and wanted power and so on, but you can't see this in his art.
The character of the artist doesn't enter into the nature of the art. Eliot said that art is the escape from personality, which I think is right. We know that Velázquez embezzled money from the Spanish court and wanted power and so on, but you can't see this in his art.
अगर यह असंतोष न होता, तो शायद एक आदर्श पेंटिंग बन चुकी होती, जिसके पूरा होते ही चित्रकार संन्यास ले सकता था। यही गहरी अधूरापन की भावना है जो उसे आगे बढ़ाती है। शायद चित्रकार के लिए तस्वीर से ज़्यादा सृजन की प्रक्रिया ज़रूरी हो जाती है। सच कहें तो यह प्रक्रिया एक आदत की तरह बन जाती है।
Were it not for this [dissatisfaction], the perfect painting might be painted, on the completion of which the painter could retire. It is this great insufficiency that drives him on. The process of creation becomes necessary to the painter perhaps more than it is in the picture. The process is in fact habit-forming.
Were it not for this [dissatisfaction], the perfect painting might be painted, on the completion of which the painter could retire. It is this great insufficiency that drives him on. The process of creation becomes necessary to the painter perhaps more than it is in the picture. The process is in fact habit-forming.