Young people need models, not critics.
One of the most insidious and nefarious properties of scientific models is their tendency to take over, and sometimes supplant, reality.
Each person must live their life as a model for others.
A good model can advance fashion by ten years.
Children need models rather than critics.
People seldom improve when they have no other model but themselves to copy.
All models are wrong, but some are useful.
The art of seeing nature, or, in other words, the art of using models, is in reality the great object, the point to which all our studies are directed.
It is well for young men to have a model, but let them draw the curtain over it while they are painting.
I was aware that on my skill as a painter would depend the physical and moral possession of the model...
The model is not to be copied, but to be realized.
Has your drawing the meaning you saw in the model at first?
Studying the model and realizing it is sometimes very slow in coming for the artist.
The only ones who can really benefit by consulting the model are those who can produce their effect without a model.
Every time I await a model, even when I am most pressed to time, I am overjoyed when the time comes and I tremble when I hear the key turn in the door.
The living model never answers well the idea or impressions the painter wishes to express; one must, therefore, learn to do without one, and for that, you must acquire facility, furnish one's memory to the point of infinitude, and make numerous drawings after the old masters.
If thou shouldst paint mountains in a good style and to look natural, take some large stones full of cracks and copy them.
I've known painters who never did any good work because instead of painting their models they seduced them.
A professional model is like a stuffed owl. These girls are alive.
The neutrality and clarity of an engineering drawing is a better model for teaching about art than all the uncontrollable drivel about the cabbala and metaphysics and the ecstasy of sainthood.
I work from the people that interest me, and that I care about, in rooms that I live in and know. I use the people to invent my pictures, and I can work more freely when they are there.
At first, one sees the person who is modelling; but little by little, all of the possible sculptures that could be made come between artist and model.
I had many teachers that were great, positive role models and taught me to be a good person and stand up and be a good man. A lot of the principals they taught me still affect how I act sometimes and it's 30 years later.
I looked up to my parents because they were very successful in what they wanted to do. I was lucky; I didn't have to look far for role models.
It is the death of present art when it returns again and again to the model. Use of the model is only an intermediate stage in artistic development. Create out of a living spirituality to overcome everything naturalistic.
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