Do studies, not pictures. Know when you are licked - start another. Be alive, stop when your interest is lost.
Study continuously, developing yourself into a better person, more sensitive to things in nature. Spend years in getting ready.
If you look into the past of the successful painter you will find square miles of canvas behind him.
Each day has its own individuality of color.
Put off finish as it takes a lifetime - wait until later to try to finish things - make a lot of starts.
Do not let it look as if you reasoned too much. Painting must be impulsive to be worth while.
Chase used to say, 'When you're looking at your canvas and worrying about it, try to think of your canvas as the reality and the model as the painted thing.'
If you are not going to get a thrill, how can you give someone else one? You must feel the beauty of the thing before you start.
Paint with freedom. It gives you more mastery of the nature of paint.
Have as much fun as you can and don't feel that the edge of your canvas confines you - let your vision go right on.
Keep this little canvas, it is a promise for the future. When I say 'keep this canvas,' I mean for the influence on yourself. When one does a good thing, it's well to keep it to show how foolish we are at other times.
In his attempt to develop the beauty he sees, the artist develops himself.
A sketch has charm because of its truth - not because it is unfinished.
Man-made things, buildings, boats, etc., we see more decidedly than the other things in a landscape.
The mechanics of putting one spot of color next to another, that is the fundamental thing.
The value of a canvas depends almost entirely on your mental attitude, not on your moral attitude; depends on what kind of a man you are, the way you observe.
Anything under the sun is beautiful if you have the vision it is the seeing of the thing that makes it so.
Get into the habit of doing what you see, not what you know. Human reason cannot foresee the accidents of out-of-doors.
Try to do ugly things so that you make them beautiful... The more delicate the thing is in nature the more one must look for the solemn note. Color in nature is never pretty, it's beautiful.
It is so hard and long before a student comes to a realization that these [first] few large simple spots in right relations are the most important things in the study of painting. They are the fundamentals of all painting.
Put variety in white.
See what you can do with your daring with color and your ignorance mixed with it.
By having the big lines of the composition going out of the canvas, your imagination can wander beyond the edge. It will make it seem part of a large composition.
Be humble about it. Paint the color tones as they come against each other, and make them sing, vibrate. Don't ask me to look at those self-satisfied, pretty things.
We must all teach ourselves to be fine, to be poets.
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