A landscape painting is essentially emotional in origin. It exists as a record of an effect in nature whose splendour has moved a human heart, and according as it is well or ill done it moves the hearts of others.
Water is the most expressive element in nature. It responds to every mood from tranquility to turbulence.
A landscape painting in which composition is ignored is like a line taken from a poem at random: it lacks context, and may or may not make sense.
Style is instinctive and few achieve it in a notable degree. Its development is not hastened by instruction. It comes or it doesn't. It will take care of itself.
Let it not be assumed that the artist is so smug as to dislike true criticism. No sincere artist was ever completely satisfied with his labour.
Beauty may be perceived in any scene by one with sympathy and understanding. Beauty is in the mind.
Difficulties will assail you only when you lack in concentration and persistence.
The beauty and wonders of nature are as alluring as the pursuit of Art, and made of me a landscape painter.
It is remarkable how very individual technique becomes in watercolour. Every man of personality finally arrives at a method peculiarly his own, as unique as his own fingerprint.
Take away a painter's vanity, said a famous landscape painter, and he will never touch a pencil again.
When spring is here the sketcher begins to look over his equipment and relishes in anticipation the soothing hours he will spend in the open, warmed by the sun, fanned by the breeze, charmed by the manifold delights of nature.
Colour is as variable and evanescent in the form of pigment as in visible nature.
It is not in the nature of lenses to tell the whole truth. They are instruments of exaggeration and belittlement.
Beauty, pleasure, and the good things of life are intensified, and perhaps only exist, by reason of contrast.
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.
I don't like to think that I am a slave to technique, or so inept that I have to restrict myself to one method.
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.
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!
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.
A mistake in drawing becomes difficult to detect when the eye is familiar with it.
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.
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.
Be content with nothing less than perfection.
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.
Do not think me fussy when I specify tidiness. It is essential... In printing, remember that cleanliness and order wait upon success.
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