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The first impulse towards painting, or toward art in general, stems from the need to communicate, the effort to fix one’s own vision, to deal with appearances (which are alien and must be given names and meanings.) Without this, all work would be pointless and unjustified, like Art for Art’s Sake.

 

Gerhard Richter

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To talk about paintings is not only difficult but perhaps pointless, too. You can only express in words what words are capable of expressing, what language can communicate. Painting has nothing to do with that ... Painting is another form of thinking. ~ Gerhard Richter

 

Gerhard Richter

 

Seek God. Hear from God. Receive his vision. Let it overwhelm you. Consume you. Burden you. Tell the vision. Cast the vision. Communicate the vision. And watch it spread.

 

Craig Groeschel

 

The vision of the artist or the poet is the intermediate determinant between the subject (the person) and the objective pole (the world-waiting-to-be). It will be nonbeing until the poet's struggle brings forth an answer — meaning. The greatness of a poem or a painting is not that it portrays the thing observed or experienced, but that it portrays the artist's or the poet's vision cued off by his encounter with the reality. Hence the poem or the painting is unique, original, never to be duplicated. No matter how many times Monet returned to paint the cathedral at Rouen, each canvas was a new painting expressing a new vision.

 

Rollo May

 

A fundamental problem in such studies stems from the long tradition that has regarded artistic productions as social facts. by regarding such productions as social facts the analyst is relieved of the burden of demonstrating what meanings these productions have for the artist and his [sic] audience. It is too frequently assumed that such meanings can be identified by a capable analyst, independent of the interpretations brought to such works by the artist or his audiences. In my judgement artist productions must be seen as interactional creations; the meanings of which arise out of the interactions directed to them by the artist and his audience.

 

Norman Denzin

 

The first stable conclusion I reached … was that the only thing brains could do was to approximate the responsivity to meanings that we presuppose in our everyday mentalistic discourse. When mechanical push comes to shove, a brain was always going to do what it was caused to do by current, local, mechanical circumstances, whatever it ought to do, whatever a God's-eye view might reveal about the actual meaning of its current states. But over the long haul, brains could be designed – by evolutionary processes – to do the right thing (from the point of view of meaning) with high reliability. … [B]rains are syntactic engines that can mimic the competence of semantic engines. … The appreciation of meanings – their discrimination and delectation – is central to our vision of consciousness, but this conviction that I, on the inside, deal directly with meanings turns out to be something rather like a benign "user-illusion".

 

Daniel C. Dennett