A Quote by Marion Milner

The aim of the painting is that the eye should find out what it likes. — © Marion Milner
The aim of the painting is that the eye should find out what it likes.
One has to seek Beauty and Truth, Sir! As I always say to my pupils, you have to work to the finish. There's only one kind of painting. It is the painting that presents the eye with perfection, the kind of beautiful and impeccable enamel you find in Veronese and Titian.
One learns about painting by looking at and imitating other painters. I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting.
If more than ten percent of the public likes a painting, it should be burned.
Think of a fine painter attempting to capture an inner vision, beginning with one corner of the canvas, painting what she thinks should be there, not quite pulling it off, covering it over with white paint, and trying again, each time finding out what her painting isn't, until she finally finds out what it is. And when you finally do find out what one corner of your vision is; you're off and running.
Ahab cast a covetous eye at Naboth's vineyard, David a lustful eye at Bathsheba. The eye is the pulse of the soul; as physicians judge of the heart by the pulse, so we by the eye; a rolling eye, a roving heart. The good eye keeps minute time, and strikes when it should; the lustful, crochet-time, and so puts all out of tune.
In a painting, you can't make out whether the artist painted the left eye before the right eye. In Chinese calligraphy, you can see the progression of the artist's stroke.
Sometimes I can see the whole painting from the outset in my mind's eye. But more often than not, that idea doesn't last the duration of the painting. Sometimes it comes out easy, just as I had envisaged. But that is reasonably rare.
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.
What most paintings do is give you a path for your eye to move around. The painting actually tells your eye, go here, now go here, now go here, go here. So all you have to do is look at it, give it a few seconds, and your eye will start to move through the painting.
Philosophy should be an energy; it should find its aim and its effect in the amelioration of mankind.
I'm not so facile that I can accomplish or find out what I want to know or explore enough of the possibilities and a way of making a painting, say, in just one painting or two paintings.
I've told many people that I'm not looking to go out there and find the most beautiful girl in the world who likes me because I'm 'Mr. American Idol Scott McCreery.' If I could just find a nice hometown girl who just likes me for who I am, that's all I want.
A guy should find out what the woman likes. Every woman is different, so you can't just assume what works on one will work on another.
Fame and success and awards should never be the aim. The aim should be: Are you enjoying the making of the thing?
A painting should be tough; it should have muscle, but I have to find some tenderness in it, too. There has to be that dynamic.
The painting of tomorrow will use the photographic eye as it has used the human eye.
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