A Quote by Claude Monet
Paint what you really see, not what you think you ought to see; not the object isolated as in a test tube, but the object enveloped in sunlight and atmosphere, with the blue dome of Heaven reflected in the shadows.
Related Quotes
Go to the object. Leave your subjective preoccupation with yourself. Do not impose yourself on the object. Become one with the object. Plunge deep enough into the object to see something like a hidden glimmering there.
From the dome of St. Peter's one can see every notable object in Rome... He can see a panorama that is varied, extensive, beautiful to the eye, and more illustrious in history than any other in Europe.
What if every seemingly isolated object was actually just where the continuous wave of that object poked through into our world?
When we see a beautiful object, a beautiful garden, or a beautiful flower, let us think that there we behold a ray of the infinite beauty of God, who has given existence to that object.
What most people really object to when they object to a free market is that it is so hard for them to shape it to their own will. The market gives people what the people want instead of what other people think they ought to want. At the bottom of many criticisms of the market economy is really lack of belief in freedom itself.
We never really see time. We see only clocks. If you say this object moves, what you really mean is that this object is here when the hand of your clock is here, and so on. We say we measure time with clocks, but we see only the hands of the clocks, not time itself. And the hands of a clock are a physical variable like any other. So in a sense we cheat because what we really observe are physical variables as a function of other physical variables, but we represent that as if everything is evolving in time.
Fear, as opposed to anxiety, has a definite object, which can be faced, analyzed, attacked, endured... anxiety has no object, or rather, in a paradoxical phrase, its object is the negation of every object.
We know that madness belongs to love,--what power to paint a vile object in hues of heaven.
Whatsoever accidents or qualities our senses make us think there be in the world, they are not there, but are seemings and apparitions only. The things that really are in the world without us, are those motions by which these seemings are caused. And this is the great deception of sense, which also is by sense to be corrected. For as sense telleth me, when I see directly, that the colour seemeth to be in the object; so also sense telleth me, when I see by reflection, that colour is not in the object.
You don't spend every day saying, "Gosh! That's so beautiful." Sometimes you look at an object more attentively and see it anew. I won't talk of any one object in particular. For me there is no hierarchy in art. Things have an inherent quality or they don't.
Shadows sometimes people don't see shadows. The Chinese of course never paint them in pictures, oriental art never deals with shadow. But I noticed these shadows and I knew it meant it was sunny.
Nothing is more maddening than being questioned by the object of one's interest about the object of hers, should that object not be you.
As we speak of poetical beauty, so ought we to speak of mathematical beauty and medical beauty. But we do not do so; and that reason is that we know well what is the object of mathematics, and that it consists in proofs, and what is the object of medicine, and that it consists in healing. But we do not know in what grace consists, which is the object of poetry.
A work of art is itself an object, first of all, and so manipulation is unavoidable: it's a prerequisite. But I needed the greater objectivity of the photograph in order to correct my own way of seeing: for instance, if I draw an object from nature, I start to stylize and to change it in accordance with my personal vision and my training. But if I paint from a photograph, I can forget all the criteria that I get from these sources. I can paint against my will, as it were. And that, to me, felt like an enrichment.
People shouldn't really have to think about an object when they are using it. Not having to think about it makes the relationship between a person and an object run more smoothly.
A background can be painted in the same range of values as the foreground by reversing the light effect. In the shadow plane, paint the lights cool and the shadows warm, and in the sunlight plane, paint the lights warm and shadows cool.
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