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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.

Chuck Close

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Chuck Close
Age: 81 †
Born: 1940
Born: July 5
Died: 2021
Died: August 19
Drawer
Graphic Artist
Painter
Photographer
Monroe
Washington
Charles Thomas Close
Charles Close
Chuck Close (1940-2021)
Charles Close (1940-2021)
Pieces
Paintings
Started
Colors
Making
Oil
Would
Ultimately
Basically
Pastels
Bigger
Pastel
Painting
Square
Color
Squares

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I have a great deal of difficulty recognizing faces, especially if I haven't - if I've just met somebody, it's hopeless.
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The camera is objective. When it records a face it can't make any hierarchical decisions about a nose being more important than a cheek. The camera is not aware of what it is looking at. It just gets it all down.
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I can't always reach the image in my mind... almost never, in fact... so that the abstract image I create is not quite there, but it gets to the point where I can leave it.
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I never said the camera was truth. It is, however, a more accurate and more objective way of seeing.
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I knew from the age of five what I wanted to do. The one thing I could do was draw. I couldn't draw that much better than some of the other kids, but I cared more and I wanted it badly.
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I think women realise that I love women, and very often women seem to love me.
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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.
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The reason I don't like realist, photorealist, neorealist, or whatever, is that I am as interested in the artificial as I am in the real.
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Of all the artists who emerged in the '80s, I think perhaps Cindy Sherman is the most important.
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Ive said its a little bit like a magician performing for a convention of magicians... all the magicians in the audience watching this illusion-Do they see the illusion, or do they see the device that made the illusion? Probably they see a little of both.
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There are things about signing on to a process over the long term that protect you from the buffeting winds of change.
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All the fingerprint paintings are done without a grid.
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I have always attempted to create images that deliver the maximum amount of information about the subject.
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A face is a road map of someone's life. Without any need to amplify that or draw attention to it, there's a great deal that's communicated about who this person is and what their life experiences have been.
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There's something Zen-like about the way I work - it's like raking gravel in a Zen Buddhist garden.
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Inspiration is for amateurs. The rest of us just show up and get to work. If you wait around for the clouds to part and a bolt of lightning to strike you in the brain, you are not going to make an awful lot of work. All the best ideas come out of the process they come out of the work itself.
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I always thought problem solving was greatly overrated - and that the most important thing was problem creation.
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I've always thought that problem-solving is highly overrated and that problem creation is far more interesting.
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Inspiration is highly overrated. If you sit around and wait for the clouds to part, it's not liable to ever happen. More often than not, work is salvation.
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The thing that interests me about photography, and why it's different from all other media, is that it's the only medium in which there is even the possibility of an accidental masterpiece.
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