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.
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.
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.
The beauty and wonders of nature are as alluring as the pursuit of Art, and made of me a landscape painter.
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.
Watercolour painting is notoriously difficult - so much depends on directness and speed, and certainty of intention. Tentative or fumbling touches are disastrous, for they cannot be obliterated easily.
The play of sunlight is amusement enough for a lazy man.
Be content with nothing less than perfection.
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.
Beauty, pleasure, and the good things of life are intensified, and perhaps only exist, by reason of contrast.
It is not in the nature of lenses to tell the whole truth. They are instruments of exaggeration and belittlement.
The rewards of art are not always commensurate with its quality. It affords a precarious living.
When technique is obtrusive it becomes mere mannerism, a conscious striving for effect. It is only a means to an end - the manner of putting paint to paper. It hardly embraces the expressive side of painting.
The impression of wood-grain... must be considered, not only as regards texture and visibility, but for the occasional possibility of the expression of form. A soft wood, with hard annulations, such as fir, prints very dearly.
A mistake in drawing becomes difficult to detect when the eye is familiar with it.
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.
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.
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.
Luminosity is a quality dependent as much on technique as on the physical properties of individual pigments.
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