Jamie Wyeth

Growing up in Chadds Ford, Pa., I shuttled between studio space in my parents' house and my grandfather's studio just up the hill. It was a solitary childhood, but I loved it.

From my earliest memories, my aunt was squirting out oil paint. I could just eat it. I would go from her studio and walk down to my father's house, and there he was, working in egg tempera.

Painting is such an individual profession. I'm not performing. There's no audience.

To me, dance is so ethereal and elusive, so much of an illusion. After a performance, that's it. With vocals and music, you have good recordings.

The quality I most loved in Warhol - it was his sense of wonder. I mean, he was - absolutely everything was, 'Oh my God, isn't that wonderful!'. You know, and so it wasn't that he was cool and kind of calculated at all. He was very childlike.

I'm a very boring person, and all I do is want to paint and to record what I feel moves me or what interests me, and that can be in the form of a pig or in the form of President Kennedy.

Being a painter is the only profession where you have to stand there with all your shortcomings on the wall.

Nothing is more uninteresting than completely knowing somebody, being totally at ease.

I have hundreds of art books and the biographies of artists I love, such as Thomas Eakins and Edgar Degas.

There's a quality of life in Maine which is this singular and unique. I think. It's absolutely a world onto itself.

I have continued to paint; my father - who was savaged by the critics - continued to paint until practically the last week of his life.

The great thing about a painter is that he or she lives on - I mean, Andrew Wyeth is more in his paintings than he was walking around.