Many cherish the idea that a photograph is an exact presentment of nature, and accept without question the paradox that a photograph cannot lie. Actually there never was a more unmitigated liar.
Aerial perspective has nothing to do with line, but concerns tones and colours, by the delicate manipulation of which an artist can suggest infinite distance.
A horizontal or vertical line lacks energy, compared with one that deviates from either. The difference between these graphic expressions is the difference between movement and repose.
Many a painter has lived in affluence, in high esteem, who lacked the divine spark, and who is utterly forgotten to-day.
The impression of wood-grain... must be considered, not only as regards texture and visibility, but for the occasional possibility of the expression of form. A soft wood, with hard annulations, such as fir, prints very dearly.
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.
Subject has the variety of life.
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.
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.
The artist reserves the right to remove a blot on the landscape, to change positions of things, to suit his composition, providing only that he does not transgress the laws of probability.
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 painter who is so enamoured by the beauties of the parts of a landscape, that he strives to represent all, cannot succeed. His picture will be an arrangement of a series of portraits of things without unity... There must be variety and contrast, but in measured doses.
Many rules for the creation of colour schemes have been published in recent years, but, while they are popular in commercial studies, I know of no creative artist who employs them. They are, per se, restrictive; their use precludes any chance of adventuring in this interesting field.
Rhythm is as necessary in a picture as pigment; it is as much a part of painting as of music.
The rewards of art are not always commensurate with its quality. It affords a precarious living.
Realism is condemned by those artists whose poverty of technique does not permit them to express it.
Is the artist impelled by spiritual forces, by the divine afflatus, by conscious or unconscious emulation of others? Do angles whisper in the ears of the chosen few, and create for them visions of aethereal beauty? Do landscape painters of genius walk the plains of Heaven? Or is it only vanity that urges him to paint?
Tradition is a prop for social security.
Luminosity is a quality dependent as much on technique as on the physical properties of individual pigments.
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.
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.
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.
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.
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.
Annoyance arises from the feared implication that we are copyists in subject or treatment, or both, whereas the common qualities that establish the relationship result merely from a similarity of method.
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