A Quote by Paul Cezanne
Drawing and color are not separate at all; in so far as you paint, you draw. The more color harmonizes, the more exact the drawing becomes. When the color achieves richness, the form attains its fullness also
Related Quotes
When the color achieves richness, the form attains its fullness also.
Drawing and color are by no means two different things. As you paint, you draw... When color is at its richest, form is at its fullest.
Painting is drawing, with the additional means of color. Painting without drawing is just 'coloriness,' color excitement. To think of color for color's sake is like thinking of sound for sound's sake. Color is like music. The palette is an instrument that can be orchestrated to build form.
You reason color more than you reason drawing... Color has a logic as severe as form.
For many years, I have been moved by the blue at the far edge of what can be seen, that color of horizons, of remote mountain ranges, of anything far away. The color of that distance is the color of an emotion, the color of solitude and of desire, the color of there seen from here, the color of where you are not. And the color of where you can never go.
It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one.
You can only learn to paint by drawing, for drawing is a way of reserving a place for color in advance.
Design and color are not distinct and separate. As one paints, one draws. The more the colors harmonize, the more the design takes form. When color is at it's richest, form is at its fullest.
Everything does come from nature. That's where you get new ideas. Just draw the landscape. I felt doing it with a bit of burnt wood was also good because I was drawing burnt wood with a piece of wood. I wanted to do black and white. After using color, I thought black and white would be good. You can have color in black and white. There is color in them, actually.
The subject should be observed more for shape and color than for drawing... precise drawing is dry and hampers the impression of the whole, it destroys all sensations.
All my paintings are usually done in drawing form, very small. I make notations in drawings first, and then I make a collage for color. But drawing is always my notation.
The difficulty with color is to go beyond the fact that it's color ? to have it be not just a colorful picture but really be a picture about something. It's difficult. So often color gets caught up in color, and it becomes merly decorative. Some photographers use it brilliantly to make visual statements combining color and content; otherwise it is empty.
Color is life, for a world without color seems dead. As a flame produces light, light produces color. As intonation lends color to the spoken word, color lends spiritually realized sound to a form.
Cold calculation, random spots of color, mathematically exact construction (clearly shown or concealed), drawing that is now silent and now strident . . . . Is this not form?
The more an object is polished or brilliant, the less you see its own color and the more it becomes a mirror reflecting the color of its surroundings.
In the work of Seurat, you can see the dots of neutral colors carrying the form and then the dots of more intense color that make the color texture. It is a totally different principle that than of the Impressionists who used broken color to imitate visual effect.
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