Every good picture leaves the painter eager to start again, unsatisfied, inspired by the rich mine in which he is working, hoping for more energy, more vitality, more time - condemned to painting for life.
Assimilate all you can from tradition and then say things in your own way.
Don't be afraid to borrow. The great men, the most original, borrowed from everybody.
Artists are the only people in the world who really live. The others have to hope for heaven.
When you draw a crowd of people in a street or room or landscape, decide whether you want to say that the people dominate the place or that the place is more important than the people.
Art is the response of the living to life. It is therefore the record left behind by civilization.
Color is like music. The palette is an instrument that can be orchestrated to build form.
Art is the result of a creative impulse derived out of a consciousness of life.
A good drawing has immense vitality because it is explanatory. In a good drawing even its faults have become virtues.
Be sensitive to your mistakes. Put it on the wall for a couple of weeks. It may be that you can learn more from the study of your own work than from others.
The purpose of subject matter is to veil technique. The great artist uses the cloak of resemblance to hide the means.
Originality is a quality that cannot be imitated. The technique of the language, on the other hand, is something that belongs to all who can understand it.
Painting is drawing, with the additional means of color.
I always think of shade as being full of light. That is why I like to use the word shade rather than light and shadow. Shade seems to play over the thing, envelop it, better define it, while shadow seems to fall on the thing and stain the surface with darks.
Draw places you have seen from memory. I used to paint things I had glimpsed through windows while riding in the elevated train.
Consistency is the quality of a stagnant mind.
In the hands of a master, light and shade is one of the great qualities of art.
The subject may be of first importance to the artist when he starts a picture, but it should be of least importance in the finished product. The subject is of no aesthetic significance.
Form your own color concept of things in nature. I have no rules for fine color to give you.
Have a special interest, a positive prejudice about some clump of trees or one particular knoll, an excitement about them can spread through the whole composition, and so fire the rest of the things that you are only mildly interested in.
You can be a giant among artists without ever attaining any great skill. Facility is a dangerous thing. When there is too much technical ease the brain stops criticizing. Don't let the hand fall into a smart way of putting the mind to sleep.
In the work of Seurat, you can see the dots of neutral colors carrying the form and then the dots of more intense color that make the color texture. It is a totally different principle that than of the Impressionists who used broken color to imitate visual effect.
There is a better chance of getting an exciting painting from a laboured study with texture than from a fine drawing without it.
Most art students are generous till it comes to squeezing their colour on the palette... Many pictures haven't become works of art simply because the artist tried to save a nickel's worth of colour.
Since we have to speak well of the dead, let's knock them while they're alive.
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