More of me comes out when I improvise.
No amount of skillful invention can replace the essential element of imagination.
If you could say it in words there would be no reason to paint.
Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world.
So many people say painting is fun. I don't find it fun at all. It's hard work for me.
To me the most important thing is the sense of going on. You know how beautiful things are when you're traveling.
Methods are transient: personality is enduring.
Well, I've always been interested in approaching a big city in a train, and I can't exactly describe the sensations, but they're entirely human and perhaps have nothing to do with aesthetics.
There is a sort of elation about sunlight on the upper part of a house.
My aim in painting has always been the most exact transcription possible of my most intimate impression of nature.
I have tried to present my sensations in what is the most congenial and impressive form possible to me.
The only quality that endures in art is a personal vision of the world. Methods are transient: personality is enduring.
The only real influence I've ever had was myself.
I guess I'm not very human. All I really want to do is paint light on the side of a house.
In general it can be said that a nation's art is greatest when it most reflects the character of its people.
I find linseed oil and white lead the most satisfactory mediums.
There will be, I think, an attempt to grasp again the surprise and accidents of nature and a more intimate and sympathetic study of its moods, together with a renewed wonder and humility on the part of such as are still capable of these basic reactions.
I believe that the great painters with their intellect as master have attempted to force this unwilling medium of paint and canvas into a record of their emotions.
What I wanted to do was to paint sunlight on the side of a house.
Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again become great.
I trust Winsor and Newton and I paint directly upon it.
After all, we are not French and never can be, and any attempt to be so is to deny our inheritance and to try to impose upon ourselves a character that can be nothing but a veneer upon the surface.
Well, I have a very simple method of painting.
If the technical innovations of the Impressionists led merely to a more accurate representation of nature, it was perhaps of not much value in enlarging their powers of expression.
I find in working always the disturbing intrusion of elements not a part of my most interested vision, and the inevitable obliteration and replacement of this vision by the work itself as it proceeds.
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