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.
Take away a painter's vanity, said a famous landscape painter, and he will never touch a pencil again.
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.
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.
Beauty, pleasure, and the good things of life are intensified, and perhaps only exist, by reason of contrast.
It is not in the nature of lenses to tell the whole truth. They are instruments of exaggeration and belittlement.
However exquisite the contours or the colours of clouds, trees, rivers or hills, may be in themselves, they must be sacrificed if they do not conform with the general plan.
The character of the subject must influence the choice of the method of its representation.
The deserving are not always blest. That peculiar attribute known as personality is as potent a factor as genius.
While sincerity and over-anxiety can spoil a picture, through superfluous elaboration and unnecessary correction, the carelessness that would leave it in an unfinished state is even more reprehensible.
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.
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.
In large studio paintings... composition, or arrangement, may be better studied, and nearer perfection, washes may be more suavely graded.
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.
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