Cliquez sur la photo pour commencer le déroulement
Click on the photo to start the slideshow
Use too big a brush !
Just pickup the bloody brush and paint ! (John Day)
Make brushstrokes ! (?)
Little forms subtract more than they add. (Robert Henri)
The fact is, finish cannot be separated from a perfect commencement. Insist, then, on the beauty of form and color to be obtained from the composition of the largest masses, the four or five large masses which cover your canvass. (Robert Henri)
Do not pass from the work on mass to details until all that can be said with the larger forms has been said; the greatest drawing, the greatest expression, the greatest completion, the sense of all contained lies in what can be done through the larger masses and the larger gestures. (Robert Henri)
Realistic paintings can be expressive – think of Wyeth or Vermeer or Rembrandt – but just making objects that look real isn’t enough. To be a work of art, a painting doesn’t necessarily have to look real; it has to feel real, and it has to express real feelings. (Christopher Schink)
So you want to be an artist ? The BE an artist ! (Harley Brown)
We prioritize seeing. (Richard Schmidt)
Exactly right isn’t right. (Richard Schmidt)
When I start thinking, all is lost. (Corot)
One must never hesitate in anything. (Corot)
As long as you are faithful to the shapes, tonal values and edges you see in your subject, color can be pushed in any direction and still be believable. (Mike Svob)
We are limited not by our abilities but by our vision. (?)
The abstraction is what gives order to a work of art. (William F. Reese)
An artist is not paid for his time; he is paid for the quality of his vision. Until one works long enough to have a semblance of a vision, the work has no value. Pictures and statues are not necessarily art. (William F. Reese)
A work of art does not appeal to the intellect. It does not appeal to the moral sense. Its aim is not to instruct, not to edify, but to awaken an emotion. This emotion may be one of love, of pity, of veneration, of hate, of pleasure or of pain; but it must be a single emotion, if the work has unity, as every such work should have, and the true beauty of the work consists of the beauty of the sentiment or emotion which it inspires. Its real greatness consists of the quality and the force of the emotion. Details in the picture must be elaborated only enough fully to reproduce the impression that the artist wishes to reproduce. When more than this is done, the impression is weakened or lost, and we see simply an array of external things which may be very clearly painted and which may look very real, but which do not make an artistic painting. The effort and the difficulty of an artist is to combine the two: namely, to make the thought clear, and to preserve the unity of impression. One is poetic truth, the other is scientific truth. The former is aesthetic, the latter is analytic. (George Inness, Harpers New Monthly Magazine)
Artistic beauty does not consist of the representation of a beautiful
thing, but the beautiful representation of a thing. (Immanuel Kant)
If the tones are right, the picture will look right. (Émile Gruppé)
Every day creativity
The painter who is sensitive to tonal relationships and pattern will compose his areas of tone so that they fall into groups, each of which contains closely-related values. This may be a matter of very small adjustments, deriving from very exact observation…He will be aware of the bigger groupings of tone. (Bernard Dunstan)
…these are examples of working from drawings; the elements of the picture were not altered from the original impression. The composition consisted of finding a satisfactory format and then a continuous process of adjustment of comparatively small, but very important, relationships. (Bernard Dunstan)
The way things happen and arrange themselves naturally nearly always has an ease and rightness far greater than conscious arrangement can produce. The casual clutter of a table after a meal is a good example of this. A very important part of the art of composing pictures is to be alert to all such chance happenings and to take full advantage of them. (Bernard Dunstan)
The true artist is never satisfied; he is always searching. (Marc-Aurèle Fortin)
The student must leave school early. If he stays under the wing of the master too long, it is not he who will paint, but the master. We can assume another man’s trade, but only we can see nature through our own eyes. (Marc-Aurèle Fortin)
“That same year (1908), at the Count Doria sale, Melting Snow, a picture which Cézanne painted in 1879 from a photograph of the Rouart family estate at Melun, was bought for 6 750 francs. The purchaser was Claude Monet.” Frank Edgar, Cézanne
Just goes to show that artists, even Monet, even Cézanne, did not shy away from paintings based on photos.
Mon nouveau studio - celui-ci me permet un recul de 11 pas, versus 3 1/2 dans mon ancien.
My new studio - it allows me to step back 11 paces,instead of 3 1/2 as my old one did.
Artiste figuratif peignant principalement à l'acrylique; ses sujets préférés sont les figures (musiciens), les intérieurs et les paysages peints en plein air. /Figurative artist painting primarily in acrylic. His favorite subjects are figures (musicians), interiors and landscapes (plein air).