A Quote by John Constable

Painting is a science, and should be pursued as an inquiry into the laws of nature. Why, then, may not landscape painting be considered as a branch of natural philosophy, of which pictures are but the experiments?
Painting is a science, and should be pursued as an inquiry into the laws of nature.
Painting is a science pursued as an enquiry into the laws of nature...Observation is considered the key to natural science.
The merit of painting lies in the exactness of reproduction. Painting is a science and all sciences are based on mathematics. No human inquiry can be a science unless it pursues its path through mathematical exposition and demonstration.
I feel like what's most important for painting - which has been hierarchically on the top for a really long time in terms of what is considered fine art, by comparison with something like a comic book or what's considered low art - is that painting should open up laterally to include other cultures and things that don't immediately resonate as a painting but are obviously of equal contribution to the genre.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
Very few people have a natural feeling for painting, and so, of course, they naturally think that painting is an expression of the artist's mood. But it rarely is. Very often he may be in greatest despair and be painting his happiest paintings.
I believe that one should not think too much about nature when painting, at least not during the painting's conception. The colour sketch should be made exactly as one has perceived things in nature. But personal feeling is the main thing.
The laws of thought are natural laws with which we have no power to interfere, and which are of course not to be in any way confused with the artificial laws of a country, which are invented by men and can be altered by them. Every science is occupied in detecting and describing the natural laws which are inflexibly observed by the objects treated in the Science.
For a very long time science and philosophy were considered part of the same continuum and it was only within the last few hundred years they've been considered different areas of inquiry, and now we're starting to go back to the idea that maybe they aren't two separate realms of inquiry.
Maybe the given person, cup, or landscape is lost before one gets to painting. A figure exerts a continuing and unspecified influence on a painting as the canvas develops. The represented forms are loaded with psychological feeling. It can't ever just be painting.
The true essence of Chinese culture is sophistication, refinement, the spirit of poetry. The spirit of ink painting and calligraphy lives on forever. Calligraphy is more important than painting. Chinese always consider nature. Man is a very small part of nature. That's why in Chinese painting you see huge mountains and man very small, very humble before nature. You must be harmonious and one with nature. You don't fight it. And then there's a bit of a poetry. Of course, it's very complicated, but also very simple.
When you are painting a landscape, assume the painting is real and the landscape is an illusion.
I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.
One drawing demands to become a painting, so I start to work on that, and then the painting might demand something else. Then the painting might say, 'I want a companion, and the companion should be like this,' so I have to find that, either by drawing it myself or locating the image.
A landscape painting in which composition is ignored is like a line taken from a poem at random: it lacks context, and may or may not make sense.
This site uses cookies to ensure you get the best experience. More info...
Got it!