A landscape painting is essentially emotional in origin. It exists as a record of an effect in nature whose splendour has moved a human heart, and according as it is well or ill done it moves the hearts of others.
Water is the most expressive element in nature. It responds to every mood from tranquility to turbulence.
Let it not be assumed that the artist is so smug as to dislike true criticism. No sincere artist was ever completely satisfied with his labour.
A landscape painting in which composition is ignored is like a line taken from a poem at random: it lacks context, and may or may not make sense.
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.
The beauty and wonders of nature are as alluring as the pursuit of Art, and made of me a landscape painter.
Beauty may be perceived in any scene by one with sympathy and understanding. Beauty is in the mind.
Difficulties will assail you only when you lack in concentration and persistence.
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.
The play of sunlight is amusement enough for a lazy man.
Be content with nothing less than perfection.
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.
Take away a painter's vanity, said a famous landscape painter, and he will never touch a pencil again.
When spring is here the sketcher begins to look over his equipment and relishes in anticipation the soothing hours he will spend in the open, warmed by the sun, fanned by the breeze, charmed by the manifold delights of nature.
Colour is as variable and evanescent in the form of pigment as in visible nature.
It is not in the nature of lenses to tell the whole truth. They are instruments of exaggeration and belittlement.
Beauty, pleasure, and the good things of life are intensified, and perhaps only exist, by reason of contrast.
The sincere artist is usually his own best critic, but continuous and prolonged work on one painting will sometimes dull his judgment... The critic is in demand, but he must be competent.
Copying is an art in itself, demanding the greatest technical ability, especially in watercolour. However well done, the copy invariably lacks that nascent, ineffable, but definite quality, provided by the furious enthusiasm with which an original is created, an essential spontaneity that defies reproduction.
Submit your work to interested societies for exhibition where the critics in the light of their physical well-being and according to the extent of their knowledge, may appraise them conveniently.
The student's ambition should be to become a painter's painter, rather than a popular painter. The approbation of fellow artists based on sympathy and understanding is manifestly better than the fickle or fast homage of the greater public.
The public is the tribunal before which all art is judged - not the critics or the academies. The public is the artist's only patron, and has certain fundamental rights. It will submit to education, and will respond to suggestion, but it will not be bullied.
There is the process of enlarging a watercolour, which actually amounts to copying its good points and improving its bad ones, and is interesting proportionately as the latter increase.
Perhaps the ideal life is that of the week-end artist, who preserves the integrity of his own aesthetic ideals because of his economic independence... If his daily grind is hateful he has his weekly solace in art.
In most natural scenes there is a prevailing colour, which the landscape painter must learn to identify, and which must prevail also in a slightly exaggerated form, in his painting, for the sake of truth, harmony and unity.
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