A Quote by Igor Babailov

Perhaps one of the most essential exercises in learning to paint is the copying of master works in the museums. — © Igor Babailov
Perhaps one of the most essential exercises in learning to paint is the copying of master works in the museums.
I'm not a master. I'm a student-master, meaning that I have the knowledge of a master and the expertise of a master, but I'm still learning. So I'm a student-master. I don't believe in the word 'master.' I consider the master as such when they close the casket.
The great use of copying, if it be at all useful, should seem to be in learning color; yet even coloring will never be perfectly attained by servilely copying the model before you.
No person is so grand or wise or perfect as to be the master of another person. Teacher, perhaps. Setter of good example, perhaps. Genius, perhaps. But master, no.
Pranayama and yoga are the most essential exercises and I make sure that I sleep sufficiently.
In my early days, I copied the great French chefs, like most chefs do. Copying is not bad. Copying and not recognizing that you are copying is bad. For me, when I go to a restaurant and am served a dish influenced by something we created at elBulli, if it's well done, it makes me extremely happy.
If you ever have to make a choice between learning and inspiration, choose learning. It works most of the time.
Some would define a servant like this: 'A servant is one who finds out what his master wants him to do, and then he does it.' The human concept of a servant is that a servant goes to the master and says, 'Master, what do you want me to do?' The master tells him, and the servant goes off BY HIMSELF and does it. That is not the biblical concept of a servant of God. Being a servant of God is different from being a servant of a human master. A servant of a human master works FOR his master. God, however, works THROUGH His servants.
The habit of collecting, of attachment to things, is an essential human trait. But Western civilization put collecting on a pedestal by inventing museums. Museums are about representing power. It could be the king's power or, later, people's power.
The Smithsonian museums are among this country's most endearing treasures and I look forward to helping maintain and enhance their coveted works of art.
My rule was not to paint things as they were. I wasn't copying; I was remaking them as my own.
There were no museums or galleries in Shanghai, but I was very keen on art - I was always sketching and copying, and sometimes I think that my whole career as a writer has been the substitute work of an unfulfilled painter.
I think some of the most important exercises are all the core exercises that you can do to maximize training in certain areas of your body.
I'm very interested in the idea of unusual museums, ones that are not necessarily contemporary art museums - more like historical collections or house museums.
The U.S. museums weren't looking at my paintings at all - they hated them, irredeemably. People metaphorically threw up when they saw my work! They thought I was enlarging comics, or just copying them.
Out in the sun, some painters are lined up. The first is copying nature, the second is copying the first, the third is copying the second... You see the sequence.
I've been asked often what is the difference between an amateur and a professional artist, and I will tell you. An amateur artist is one who works all week at something else so he can paint on Saturday and Sunday. A professional artist is one whose wife works so he can paint all the time.
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