A Quote by Claude Monet
No one is an artist unless he carries his picture in his head before painting it, and is sure of his method and composition.
Related Quotes
An artist painting a picture should have at his side a man with a club to hit him over the head when the picture is finished.
A Christian is one who points at Christ and says, 'I can't prove a thing, but there's something about his eyes and his voice. There's something about the way he carries his head, his hands, the way he carries his cross-the way he carries me.'
Before a painter puts a brush to his canvas, he sees his picture mentally.... If you think of yourself in terms of a painting, what do you see?... Is the picture one you think worth painting?... You create yourself in the image you hold in your mind.
Every intelligent painter carries the whole culture of modern painting in his head. It is his real subject, of which everything he paints in both an homage and a critique, and everything he says is a gloss.
A real artist may create his picture in a lonely desert... gods look over his shoulder; he creates in their company. What does he care whether or not anybody admires his picture?
I there represent that I sent notice of my method to Mr. Leibnitz before he sent notice of his method to me, and left him to make it appear that he had found his method before the date of my letter.
In every artist we can perceive a man with both a message and a method. His message may be innate in him, but his method he has to acquire from others.
A creative artist works on his next composition because he was not satisfied with his previous one.
Clearly the hardest thing for the working artist is to create his own conception and follow it, unafraid of the strictures it imposes, however rigid these may be... I see it as the clearest evidence of genius when an artist follows his conception, his idea, his principle, so unswervingly that he has this truth of his constantly in his control, never letting go of it even for the sake of his own enjoyment of his work.
The editor sat in his sanctum, his countenance furrowed with care, His mind at the bottom of business, his feet at the top of a chair, His chair-arm an elbow supporting, his right hand upholding his head, His eyes on his dusty old table, with different documents spread.
An artist carries on throughout his life a mysterious, uninterrupted conversation with his public.
He who works with his hands and his head and his heart is an artist
He saw on the paper a picture of a man, white-skinned, who hung upon a crosspiece of wood. The man was without clothes except for a bit about his loins, and to all appearences he was dead, since his head drooped upon his shoulder and his eyes were closed above his bearded lips. Wang Lung looked at the pictured man in horror and with increasing interest.
Who shall blame him? Who will not secretly rejoice when the hero puts his armour off, and halts by the window and gazes at his wife and son, who, very distant at first, gradually come closer and closer, till lips and book and head are clearly before him, though still lovely and unfamiliar from the intensity of his isolation and the waste of ages and the perishing of the stars, and finally putting his pipe in his pocket and bending his magnificent head before her—who will blame him if he does homage to the beauty of the world?
Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?
Man carries the world in his head, the whole astronomy and chemistry suspended in a thought. Because the history of nature is charactered in his brain, therefore he is the prophet and discoverer of her secrets. Every known fact in natural science was divined by the presentiment of somebody, before it was actually verified.
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