The value of a canvas depends almost entirely on your mental attitude, not on your moral attitude; depends on what kind of a man you are, the way you observe.
Have as much fun as you can and don't feel that the edge of your canvas confines you - let your vision go right on.
See what you can do with your daring with color and your ignorance mixed with it.
The ring, the call, the surprise, the shock that you have out-of-doors - be always looking for the unexpected in nature, do not settle to a formula.
Keep this little canvas, it is a promise for the future. When I say 'keep this canvas,' I mean for the influence on yourself. When one does a good thing, it's well to keep it to show how foolish we are at other times.
Man-made things, buildings, boats, etc., we see more decidedly than the other things in a landscape.
It is so hard and long before a student comes to a realization that these [first] few large simple spots in right relations are the most important things in the study of painting. They are the fundamentals of all painting.
Get into the habit of doing what you see, not what you know. Human reason cannot foresee the accidents of out-of-doors.
The world is waiting for men with vision - it is not interested in mere pictures.
In his attempt to develop the beauty he sees, the artist develops himself.
Be humble about it. Paint the color tones as they come against each other, and make them sing, vibrate. Don't ask me to look at those self-satisfied, pretty things.
Chase used to say, 'When you're looking at your canvas and worrying about it, try to think of your canvas as the reality and the model as the painted thing.'
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