A Quote by Pierre Bonnard
And after drawing comes composition. A well-composed painting is half done
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A painting that is well composed is half finished.
In drawing after drawing, pastel after pastel, painting after painting, the contours of Degas's dancing figures become, at a certain point, darkly insistent, tangled and dusky. It may be around an elbow, a heel, an armpit, a calf muscle, the nape of a neck.
To draw does not simply mean to reproduce contours; the drawing does not simply consist in the idea: the drawing is even the expression, the interior form, the plan, the model. Look what remains after that! The drawing is three fourths and a half of what constitutes painting. If I had to put a sign over my door to the atelier, I would write: School of drawing, and I'm certain that I would create painters.
Drawing includes three and a half quarters of the content of painting... Drawing contains everything, except the hue
Not even pencil or charcoal is needed. Drawing can also be done with a brush. But drawing is a must, if not, no painting can resist.
I started when I was nine. Really, everything I know about color theory, composition, drawing, and painting, I learned when I was a kid.
Architectural drawing is a language with conventions where the rules can be deliberately misused; a well-composed architectural drawing can both contain correct and incorrect arrangements of meaningful things.
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.
In some exquisite critical hints on "Eurythmy," Goethe remarks, "that the best composition in pictures is that which, observing the most delicate laws of harmony, so arranges the objects that they by their position tell their own story." And the rule thus applied to composition in painting applies no less to composition in literature.
When we look at a painting, listen to a piece of music, read a novel, or watch a movie we are taking in the artist's composition. The composition is the totality of the work.
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.
In fact, I believe to a certain extent a person today who starts with just clay, with no drawing and no painting and no figure drawing, still-life drawing, various things, they miss a great deal.
Painting, drawing - I'm really into photography, I've done it since high school.
I liked drawing and painting, because the only failure would be to listen to the doubters who wanted me to stop drawing and painting because 'you aren't going to make a living doing that.' I liked looking in art books at the work of painters.
I am trying to represent design through drawing. I have always drawn things to a high degree of detail. That is not an ideological position I hold on drawing but is rather an expression of my desire to design and by extension to build. This has often been mistaken as a fetish I have for drawing: of drawing for drawing’s sake, for the love of drawing. Never. Never. Yes, I love making a beautiful, well-crafted drawing, but I love it only because of the amount of information a precise drawing provides
There is a kinship between music and painting - with the same words used to describe both, as when a musical composition is said to have color and a painting to have rhythm.
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