It is well for young men to have a model, but let them draw the curtain over it while they are painting.
I was aware that on my skill as a painter would depend the physical and moral possession of the model.
In front of the model I work with the same will to reproduce truth as if I were making a portrait. I do not correct nature, I incorporate myself into it; it directs me. I can only work with a model. The sight of human forms nourishes and comforts me.
The model is not to be copied, but to be realized.
Has your drawing the meaning you saw in the model at first?
Studying the model and realizing it is sometimes very slow in coming for the artist.
The only ones who can really benefit by consulting the model are those who can produce their effect without a model.
Every time I await a model, even when I am most pressed to time, I am overjoyed when the time comes and I tremble when I hear the key turn in the door.
The living model never answers well the idea or impressions the painter wishes to express; one must, therefore, learn to do without one, and for that, you must acquire facility, furnish one's memory to the point of infinitude, and make numerous drawings after the old masters.
If thou shouldst paint mountains in a good style and to look natural, take some large stones full of cracks and copy them.
I've known painters who never did any good work because instead of painting their models they seduced them.
A professional model is like a stuffed owl. These girls are alive.
The neutrality and clarity of an engineering drawing is a better model for teaching about art than all the uncontrollable drivel about the cabbala and metaphysics and the ecstasy of sainthood.
I work from the people that interest me, and that I care about, in rooms that I live in and know. I use the people to invent my pictures, and I can work more freely when they are there.
At first, one sees the person who is modelling; but little by little, all of the possible sculptures that could be made come between artist and model.
When we describe a process, or make out an invoice, or photograph a tree, we create models; without them we would know nothing of reality and would be animals.
Painting a young maiden is similar to cavorting with great abandon. It is the finest refreshment.
You must first spend some time getting your model to relax. Then you'll get a natural expression.
I do not pose my sitters. I do not deliberate and then concoct... Before painting, when I talk to the person, they unconsciously assume their most characteristic pose, which in a way involves all their character and social standing - what the world has done to them and their retaliation.
It's a luxury to have so much time, especially with someone so important and busy. You have to get a feel for the person.
I'll always be grateful to rent collecting. I've put many of the tenants in my pictures.
I'm not a role model.
Only the mature artist who works from a model is capable of seeing the body for itself, only he has the opportunity for prolonged viewing.
What I'm concerned about now is creating a metaphor for what the figure really is.
A single model enables me to focus on one thing at a time, separating design and form and color into three successive stages.
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