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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)
Painting
Square
Color
Squares
Pieces
Paintings
Started
Colors
Making
Oil
Would
Ultimately
Basically
Pastels
Bigger
Pastel

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I'm plagued with indecision in my life. I can't figure out what to order in a restaurant.
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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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Ease is the enemy of the artist. When things get too easy, you're in trouble.
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Painting is a lie. It's the most magic of all media, the most transcendent. It makes space where there is no space.
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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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Losing my father at a tender age was extremely important in being able to accept what happened to me later when I became a quadriplegic.
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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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At the same time that I'm finding the color world I want, I'm also trying to make the imagery, you know, by the nature of the strokes themselves.
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In my art, I deconstruct and then I reconstruct, so visual perception is one of my primary interests.
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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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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.
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Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.
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Those who are waiting for an epiphany to strike may wait forever. The artist simply goes to work, making art, both good and not so good.
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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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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.
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Never let anyone define what you are capable of by using parameters that don’t apply to you.
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Once I started working with the Polaroid, I would take a shot and if that shot was good, then I'd move the model and change the lighting or whatever... slowly sneaking up on what I wanted rather than having to predetermine what it was.
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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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It's always a pleasure to talk about someone else's work.
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Any innovation that is evident in my paintings is a direct result of something that happened in the course of making a print.
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