Quotes of All Topics . Occasions . Authors
You are never to lose sight of nature; the instant you do, you are all abroad, at the mercy of every gust of fashion, without knowing or seeing the point to which you ought to steer.
The true test of all the arts is not solely whether the production is a true copy of nature, but whether it answers the end of art, which is to produce a pleasing effect upon the mind.
Our Exhibitions [The Royal Academy] have... a mischievous tendency, by seducing the Painter to an ambition of pleasing indiscriminately the mixed multitude of people who resort to them.
Poetry operates by raising our curiosity, engaging the mind by degrees to take an interest in the event, keeping that event suspended, and surprising at last with an unexpected catastrophe.
If deceiving the eye were the only business of the art... the minute painter would be more apt to succeed. But it is not the eye, it is the mind which the painter of genius desires to address.
I wish you to be persuaded that success in your art depends almost entirely on your own industry; but the industry which I principally recommend is not the industry of the hands, but of the mind.
The painter of genius will not waste a moment upon those smaller objects which only serve to catch the sense, to divide the attention, and to counteract his great design of speaking to the heart.
A painter must compensate the natural deficiencies of his art. He has but one sentence to utter, but one moment to exhibit. He cannot, like the poet or historian, expatiate, and impress the mind.
One inconvenience... may attend bold and arduous attempts: frequent failure may discourage. This evil, however, is not more pernicious than the slow proficiency which is the natural consequence of too easy tasks.
I do not see in what manner practice alone can be sufficient for the production of correct, excellent, and finished pictures. Works deserving this character never were produced, nor ever will arise, from memory alone.
He who resolves never to ransack any mind but his own, will be soon reduced, from mere barrenness, to the poorest of all imitations; he will be obliged to imitate himself, and to repeat what he has before often repeated.
Though colour may appear at first a part of painting merely mechanical, yet it still has its rules, and those grounded upon that presiding principle which regulates both the great and the little in the study of a painter.
I have heard painters acknowledge, though in that acknowledgment no degradation of themselves was intended, that they could do better without nature than with her; or as they express themselves, 'that it only put them out.
Martial music has sudden and strongly marked transitions from one note to another which that style of music requires; while in that which is intended to move the softer passions, the notes imperceptibly melt into one another.
In the practice of art... it is necessary to keep a watchful and jealous eye over ourselves; idleness, assuming the specious disguise of industry... may be employed to evade and shuffle off real labor - the real labor of thinking.
Raphael and Titian seem to have looked at Nature for different purposes; they both had the power of extending their view to the whole; but one looked only for the general effect as produced by form, the other as produced by colour.
Those who are not conversant in works of art are often surprised at the high value set by connoisseurs on drawings which appear careless, and in every respect unfinished; but they are truly valuable... they give the idea of a whole.
By close inspection... you will discover the manner of handling the artifices of contrast, glazing, and other expedients, by which good colorists have raised the value of their tints, and by which nature has been so happily imitated.
By leaving a student to himself he may... be led to undertake matters above his strength, but the trial will at least have this advantage: it will discover to himself his own deficiencies and this discovery alone is a very considerable acquisition.
Gardening as far as Gardening is Art, or entitled to that appellation, is a deviation from nature; for if the true taste consists, as many hold, in banishing every appearance of Art, or any traces of the footsteps of man, it would then be no longer a Garden.
Every art, like our own, has in its composition fluctuating as well as fixed principles. It is an attentive inquiry into their difference that will enable us to determine how far we are influenced by custom and habit, and what is fixed in the nature of things.
Let me recommend to you not to have too great dependence on your practice or memory, however strong those impressions may have been which are there deposited. They are forever wearing out, and will be at least obliterated, unless they are continually refreshed and repaired.
The first degree of proficiency is, in painting, what grammar is in literature, a general preparation for whatever the student may afterward choose for more particular application. The power of drawing, modeling, and using colors, is very properly called the language of the art.
A painter must not only be of necessity an imitator of the works of nature... but he must be as necessarily an imitator of the works of other painters. This appears more humiliating, but is equally true; and no man can be an artist, whatever he may suppose, upon any other terms.
It is to Titian we must turn our eyes to find excellence with regard to color, and light and shade, in the highest degree. He was both the first and the greatest master of this art. By a few strokes he knew how to mark the general image and character of whatever object he attempted.
Grandeur of effect is produced by two different ways which seem entirely opposed to each other. One is by reducing the colors to little more than chiaroscuro... and the other, by making the colors very distinct and forcible... but still, the presiding principle of both those manners is simplicity.
No art can be grafted with success on another art. For though they all profess the same origin, and to proceed from the same stock, yet each has its own peculiar modes both of imitating nature and of deviating from it... The deviation, more especially, will not bear transplantation to another soil.
From a slight, undetermined drawing, where the ideas of the composition and character are just touched upon, the imagination supplies more than the painter himself, probably, could produce. And we accordingly often find that the finished work disappoints the expectation that was raised from the sketch.
Our studies will be forever, in a very great degree, under the direction of chance; like travelers, we must take what we can get, and when we can get it - whether it is or is not administered to us in the most commodious manner, in the most proper place, or at the exact minute when we would wish to have it.
Excellence is never granted to man but as the reward of labor. It argues no small strength of mind to persevere in habits of industry without the pleasure of perceiving those advances, which, like the hand of a clock, whilst they make hourly approaches to their point, yet proceed so slowly as to escape observation.
The general ideas which are expressed in sketches, correspond very well to the art often used in poetry... every reader making out the detail according to his own particular imagination... but a painter, when he represents Eve on canvas, is obliged to give a determined form, and his own idea of beauty distinctly expressed.
An artist who brings to his work a mind tolerably furnished with the general principles of art, and a taste formed upon the works of good artists in short, who knows in what excellence consists - will, with the assistance of models... be an overmatch for the greatest painter that ever lived who should be debarred such advantages.
The spectator, as he walks the gallery, will stop, or pass along. To give a general air of grandeur at first view, all trifling, or artful play of little lights, or an attention to a variety of tints is to be avoided; a quietness and simplicity must reign over the whole work, to which a breadth of uniform and simple color will very much contribute.
I am convinced that this is the only means of advancing science, of clearing the mind from a confused heap of contradictory observations, that do but perplex and puzzle the Student, when he compares them, or misguide him if he gives himself up to their authority; but bringing them under one general head, can alone give rest and satisfaction to an inquisitive mind.
Those who, either from their own engagements and hurry of business, or from indolence, or from conceit and vanity, have neglected looking out of themselves, as far as my experience and observation reach, have from that time not only ceased to advance, and improve in their performances, but have gone backward. They may be compared to men who have lived upon their principal, till they are reduced to beggary, and left without resources.
Poetry operates by raising our curiosity, engaging the mind by degrees to take an interest in the event, keeping that event suspended, and surprising at last with an unexpected catastrophe. The painter's art is more confined, and has nothing that corresponds with, or perhaps is equivalent to, this power and advantage of leading the mind on, till attention is totally engaged. What is done by Painting, must be done at one blow; curiosity has received at once all the satisfaction it can ever have.
But young men have not only this frivolous ambition of being thought masters of execution, inciting them on the one hand, but also their natural sloth tempting them on the other. They are terrified at the prospect before them, of the toil required to attain exactness. The impetuosity of youth is disgusted at the slow approaches of a regular siege, and desires, from mere impatience of labour, to take the citadel by storm. They wish to find some shorter path to excellence, and hope to obtain the reward of eminence by other means, than those which the indispensable rules of art have prescribed.