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.
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.
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.
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.
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.
The beauty and wonders of nature are as alluring as the pursuit of Art, and made of me a landscape painter.
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.
It is often said that the modern exhibition has ruined painting. It is an unfortunate fact that it does encourage competition, so that, to attract attention to his work, an artist is tempted to descend to sensationalism, whether it is expressed by strong colour, grotesque handling, unusual subject, or sheer size.
When technique is obtrusive it becomes mere mannerism, a conscious striving for effect. It is only a means to an end - the manner of putting paint to paper. It hardly embraces the expressive side of painting.
Many of the old masters of watercolour painted from notes, with enthusiasm either unabated or renewed. It is hard to assume the same degree of concentration in the studio, but not impossible.
The beauties of conception are always superior to those of expression.
Some drawings are better than others... Some are utterly spoiled... I keep them all. I find a use sometimes even for the worst drawing... But their chief use is to mortify one's conceit, to show how thoroughly incompetent it is possible to be, and to shame one into better ways.
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.
The most interesting studio work, and perhaps the most practicable, is painting from pencil sketches and notes... It ensures the elimination of all facts but those essential to the effect.
The deserving are not always blest. That peculiar attribute known as personality is as potent a factor as genius.
For an intelligent estimate of your technique go to another artist working in the same medium.
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.
Subject has the variety of life.
While it is emotion that gives an impulse to the landscape painter, it is his style that inspires the critic's praise, and his subject that inveigles the untutored beholder.
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