Style is instinctive and few achieve it in a notable degree. Its development is not hastened by instruction. It comes or it doesn't. It will take care of itself.
It is remarkable how very individual technique becomes in watercolour. Every man of personality finally arrives at a method peculiarly his own, as unique as his own fingerprint.
Aerial perspective has nothing to do with line, but concerns tones and colours, by the delicate manipulation of which an artist can suggest infinite distance.
Be content with nothing less than perfection.
It is evident that no derivative laws can teach the young student to see and apprehend colour in nature. His perception needs development as urgently as his muscles.
Do not think me fussy when I specify tidiness. It is essential... In printing, remember that cleanliness and order wait upon success.
Water is the most expressive element in nature. It responds to every mood from tranquility to turbulence.
The beauty and wonders of nature are as alluring as the pursuit of Art, and made of me a landscape painter.
A horizontal or vertical line lacks energy, compared with one that deviates from either. The difference between these graphic expressions is the difference between movement and repose.
A mistake in drawing becomes difficult to detect when the eye is familiar with it.
The most admirable method is that by which each wash of colour, large or small, is never disturbed. It admits of practically no overpainting, sponging or scrubbing. The colour stays where it is put.
I don't like to think that I am a slave to technique, or so inept that I have to restrict myself to one method.
Artists are perennially implored to consider 'the limitations of the medium.' Whoever invented this expression exaggerated the limitations of the English language. We are not concerned with what effects cannot be produced with our materials.
Luminosity is a quality dependent as much on technique as on the physical properties of individual pigments.
The importance of colour is as nothing compared with that of form, chiaroscuro and arrangement. They are the true and enduring bases of pictorial art.
A painter may be an abandoned mimic; at school he copies his teachers, which is only right, but he copies in turn every artist in town, which is not. He may do you that honour.
Since art exists for humanity it is not unreasonable to assume that humanity has some rights in the matter. Who pays the piper calls the tune. An artist cannot be at once a rebel and a comfortable citizen.
A beautiful feature in the colour wood-cut, and one unique in printing, is colour gradation... Two brushes are sometimes used, one charged with more potent colour than the other. Line blocks are nearly always printed with some variation of tone, and often in colour too.
Many cherish the idea that a photograph is an exact presentment of nature, and accept without question the paradox that a photograph cannot lie. Actually there never was a more unmitigated liar.
It is not in the nature of lenses to tell the whole truth. They are instruments of exaggeration and belittlement.
Watercolour painting is notoriously difficult - so much depends on directness and speed, and certainty of intention. Tentative or fumbling touches are disastrous, for they cannot be obliterated easily.
Take away a painter's vanity, said a famous landscape painter, and he will never touch a pencil again.
Tradition is a prop for social security.
Etching will suggest subtle variations of tone, the most delicate shadings, all with black lines, which, as far as lines go, are unsurpassed for sheer beauty.
The impression of wood-grain... must be considered, not only as regards texture and visibility, but for the occasional possibility of the expression of form. A soft wood, with hard annulations, such as fir, prints very dearly.
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