Drawing is the representation of form - the graphic expression of a visual experience.
Appreciation is the breath of life to the creative artist, and in spite of modern conditions, there is enough abroad to sustain him. But his name is now legion; he competes with the dead as well as the living; and the rewards and honours seem attenuated by division.
Copying is an art in itself, demanding the greatest technical ability, especially in watercolour. However well done, the copy invariably lacks that nascent, ineffable, but definite quality, provided by the furious enthusiasm with which an original is created, an essential spontaneity that defies reproduction.
There is the process of enlarging a watercolour, which actually amounts to copying its good points and improving its bad ones, and is interesting proportionately as the latter increase.
Pseudo-critics prefer to direct their remarks to the artist - Heaven forgive them - but one due rather to a common impression that such an attitude is the correct one, that all paintings should be figuratively mutilated, and that all artists are fair game, or really grateful perhaps for a few tips.
The sincere artist is usually his own best critic, but continuous and prolonged work on one painting will sometimes dull his judgment... The critic is in demand, but he must be competent.
While sincerity and over-anxiety can spoil a picture, through superfluous elaboration and unnecessary correction, the carelessness that would leave it in an unfinished state is even more reprehensible.
The deserving are not always blest. That peculiar attribute known as personality is as potent a factor as genius.
Any subject is suitable provided it is of sufficient interest, but the design must be very carefully considered, and plenty of time and thought given to its construction.
In large studio paintings... composition, or arrangement, may be better studied, and nearer perfection, washes may be more suavely graded.
A beautiful feature in the colour wood-cut, and one unique in printing, is colour gradation... Two brushes are sometimes used, one charged with more potent colour than the other. Line blocks are nearly always printed with some variation of tone, and often in colour too.
The public is the tribunal before which all art is judged - not the critics or the academies. The public is the artist's only patron, and has certain fundamental rights. It will submit to education, and will respond to suggestion, but it will not be bullied.
Submit your work to interested societies for exhibition where the critics in the light of their physical well-being and according to the extent of their knowledge, may appraise them conveniently.
Tradition is a prop for social security.
It is often said that the modern exhibition has ruined painting. It is an unfortunate fact that it does encourage competition, so that, to attract attention to his work, an artist is tempted to descend to sensationalism, whether it is expressed by strong colour, grotesque handling, unusual subject, or sheer size.
Etching will suggest subtle variations of tone, the most delicate shadings, all with black lines, which, as far as lines go, are unsurpassed for sheer beauty.
Many of the old masters of watercolour painted from notes, with enthusiasm either unabated or renewed. It is hard to assume the same degree of concentration in the studio, but not impossible.
Perhaps the ideal life is that of the week-end artist, who preserves the integrity of his own aesthetic ideals because of his economic independence... If his daily grind is hateful he has his weekly solace in art.
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 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.
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.
The beauties of conception are always superior to those of expression.
Many a painter has lived in affluence, in high esteem, who lacked the divine spark, and who is utterly forgotten to-day.
Is the artist impelled by spiritual forces, by the divine afflatus, by conscious or unconscious emulation of others? Do angles whisper in the ears of the chosen few, and create for them visions of aethereal beauty? Do landscape painters of genius walk the plains of Heaven? Or is it only vanity that urges him to paint?
Realism is condemned by those artists whose poverty of technique does not permit them to express it.
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