Universal appreciation of art... belongs to those countries and those ages which are not, or were not, ruled by materialism. Though travel was never so easy, literature on art never so profuse, and works of art never so widely distributed, a real passion for pictures is encountered but rarely.
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.
Drawing is the representation of form - the graphic expression of a visual experience.
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.
It is evident that no derivative laws can teach the young student to see and apprehend colour in nature. His perception needs development as urgently as his muscles.
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.
Pseudo-critics prefer to direct their remarks to the artist - Heaven forgive them - but one due rather to a common impression that such an attitude is the correct one, that all paintings should be figuratively mutilated, and that all artists are fair game, or really grateful perhaps for a few tips.
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.
In large studio paintings... composition, or arrangement, may be better studied, and nearer perfection, washes may be more suavely graded.
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.
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.
The beauties of conception are always superior to those of expression.
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.
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 importance of colour is as nothing compared with that of form, chiaroscuro and arrangement. They are the true and enduring bases of pictorial art.
Luminosity is a quality dependent as much on technique as on the physical properties of individual pigments.
Do not think me fussy when I specify tidiness. It is essential... In printing, remember that cleanliness and order wait upon success.
Humility counts for much, but it may be that vanity does not dispossess that admirable quality.
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.
Any subject is suitable provided it is of sufficient interest, but the design must be very carefully considered, and plenty of time and thought given to its construction.
Artists are perennially implored to consider 'the limitations of the medium.' Whoever invented this expression exaggerated the limitations of the English language. We are not concerned with what effects cannot be produced with our materials.
The most admirable method is that by which each wash of colour, large or small, is never disturbed. It admits of practically no overpainting, sponging or scrubbing. The colour stays where it is put.
The true artist and the sane collector never will tolerate insincerity and impudence.
Etching will suggest subtle variations of tone, the most delicate shadings, all with black lines, which, as far as lines go, are unsurpassed for sheer beauty.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: