Rhythm is as necessary in a picture as pigment; it is as much a part of painting as of music.
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.
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.
There must be a judicious arrangement of all the parts. Considered conversely, the artist's task is to fill his panel with a design that conforms to its shape and is beautiful in itself.
The character of the subject must influence the choice of the method of its representation.
It is the incompetent and the neglected artist who charges the public with ignorance, stupidity, and indifference. He raves loudly, but he is incomprehensible, even inarticulate, in his work.
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.
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.
Appreciation is the breath of life to the creative artist, and in spite of modern conditions, there is enough abroad to sustain him. But his name is now legion; he competes with the dead as well as the living; and the rewards and honours seem attenuated by division.
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?
Many a painter has lived in affluence, in high esteem, who lacked the divine spark, and who is utterly forgotten to-day.
Every successful painter has worked hard. He cannot rest after having gained a certain degree of facility in drawing, and expect to retain it. He must advance or fall behind. Without practice he will forget; his eye will fail him; and his hand will deny its master.
The portrait painter... If he insults his sitters his occupation is gone. Whether he paints the should instead of the features, or the latter with all its natural blemishes, he is as presumptuous as if he shouted, 'What a face. Hide it.' which would never do, although it is analogous to what landscape painters are doing every day.
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.
Not only does a lens distort forms, but the ordinary plate makes an unholy mess of colour in its tone relations. Yellow becomes black, and blue white. Black sunflowers against a white sky - what a travesty!
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.
The syllogism art for art's sake refers to that kind of painting which disregards, or is contrary to, public taste.
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.
Tradition is a prop for social security.
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.
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.
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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