- "You can look at a picture for a week and never think of it again. You can also look at a picture for a second and think about all of your life." Joan Miro
- "I think it was Charlie Chaplin who said 'nobody lives long enough to be anything but an amateur'", Trevor Chamberlain,
- Camille Pissarro 1893 "Blessed are they that see beautiful things in humble places were other people see nothing!"
Why is drawing so hard?
It shouldn't be. After all, drawing is simply measuring. As it applies to direct painting from life, drawing comes down to nothing more than figuring out the width and height of colors shapes and then fitting them together. Still, drawing remains very difficult for nearly everyone, which is odd when you think about it because drawing is the only visual element we work with that seems to deal with the measurable and definable aspect of the visible world. The other three elements: color, value, and edges are relative qualities with generous room for interpretation. Drawing is about specific dimensions. By Richard Schmidt, Ala Prima, Everything I know about Painting. 1999.
- “I have learned that what I have not drawn, I have never really seen, and that when I start to draw an ordinary thing, I realize how extraordinary it is.” –Frederick Franck
- When one travels and works with visual things – architecture, painting or sculpture – one uses one’s eyes and draws, so as to fix deep down in one’s experience what is seen. Once the impression has been recorded by the pencil, it stays for good, entered, registered, inscribed.
The camera is a tool for idlers, who use a machine to do their seeing for them. To draw oneself, to trace the lines, handle the volumes, organize the surface…all this means first to look, and then to observe and finally perhaps to discover…and it is then that inspiration may come. Le Corbusier
- “Drawing is taking a line for a walk”. Paul Klee
- "... a great painter forces the world to see nature as he sees it; but in the next generation another painter sees the world in another way, and then the public judges him not by himself but by his predecessor. So the Barbizon people taught our fathers to look at trees in a certain manner, and when Monet came along and painted differently, people said: But trees aren't like that. It never struck them that trees are exactly how a painter chooses to see them. We paint from within outwards—if we force our vision on the world it calls us great painters; if we don't it ignores ignores us; but we are the same. We don't attach any meaning to greatness or to smallness. What happens to our work afterwards is unimportant; we have got all we could out of it while we were doing it." Of Human Bondage - S. Maugham
- "He began to wonder whether he had anything more than a superficial cleverness of the hand which enabled him to copy objects with accuracy. That was nothing. He had learned to despise technical dexterity. The important thing was to feel in terms of paint. " Of Human Bondage - S. Maugham
- Learn the language of the unsaid, the poetry of the unexplained. Realize the excitement and interest created with some of the painting is left to be interpreted by the viewer. Rather than giving the complete story, we create lost and found passages that are filled in by each viewer in a personal way.
- More paintings fail from telling too much about the subject than from not telling enough.
- Detail becomes interesting only when it's used sparingly.
- The most important element involved in creative painting isn't so much having creative ability as having a creative attitude.