A Quote by Ralph Waldo Emerson
A painter told me that nobody could draw a tree without in some sort becoming a tree; or draw a child by studying the outlines of its form merely but by watching for a time his motions and plays, the painter enters into his nature and can then draw him at every attitude.
Related Quotes
A painter told me that nobody could draw a tree without in some sort becoming a tree.
I draw all the time. Drawing is my backbone. I don't think a painter has to be able to draw, I just think that if you draw, you better draw well.
You know what I am going to say. I love you. What other men may mean when they use that expression, I cannot tell. What I mean is that I am under the influence of some tremendous attraction which I have resisted in vain, and which overmasters me. You could draw me to fire, you could draw me to water, you could draw me to the gallows, you could draw me to any death, you could draw me to anything I have most avoided, you could draw me to any exposure and disgrace. This and the confusion of my thoughts, so that I am fit for nothing, is what I mean by your being the ruin of me.
I am a one-trick pony. If you tell most people to draw a picture of a tree, they'd draw 35 branches and 10,000 leaves. I will draw you a tree with four branches and three leaves, and I'll spend the rest of the week drawing inside of each leaf. In terms of the grand gesture, I reserve that maximum turbo blast energy for what I do as an artist, and I sing and dance for dinner.
My father was a painter and he taught art. He once said to me, 'I never knew an Indian child who could not draw.'
I am biased towards the belief that every painter must be grounded in strong and faultless drawing skills, and until one has not experimented with all styles of painting and has not comprehended their potentialities one's work is not complete. Even an abstract painter must know how to draw as well as a figurative artist. As for me, drawing has never created any problem, since I know how to draw anatomy correctly if I had to, I understand the function of muscle groups and sculpture.
I was never a doodler. I had never felt a drive to draw... Actually when I was a kid, I really hated art classes. My father was a kind of a Sunday painter and he liked to draw and do water colors. So, I would bring him my assignment and he would do them for me, because it was easy for him to do.
I cannot draw a human figure if I don't know the order of his bones, muscles or tendons. Same is that I cannot draw a human face if I don't know what's going on his mind and heart. In order to paint life one must understand not only anatomy, but what people feel and think about the world they live in. The painter who knows his own craft and nothing else will turn out to be a very superficial artist.
When I started school, I would draw pictures at the end of my sentences: a house, a flower, a tree, a bird. Whatever was in the sentence, I'd draw it.
Draw a line; draw a line that pleases you. And remember that it is not the artist's role to copy the outlines of things but to create a world of his own lines on paper." (pp.28-29)
A flattering painter, who made it his care To draw men as they ought to be, not as they are.
I draw because words are too unpredictable. I draw because words are too limited. If you speak and write in English, or Spanish, or Chinese, or any other language, then only a certain percentage of human beings will get your meaning. But when you draw a picture everybody can understand it. If I draw a cartoon of a flower, then every man, woman, and child in the world can look at it and say, "That's a flower.
I don't draw every day. I tend to draw intensely during certain periods of time. I draw to amuse myself on occasion, when I am bored and drawing is the only fun to be had.
The women I draw all have the same sort of personality. I can't draw gentle girls; I only know how to draw ones who are strong-willed.
If you study Japanese art you see a man who is undoubtedly wise, philosophic and intelligent, who spends his time how? In studying the distance between the earth and the moon? No. In studying the policy of Bismarck? No. He studies a single blade of grass. But this blade of grass leads him to draw every plant and then the seasons, the wide aspects of the countryside, then animals, then the human figure. So he passes his life, and life is too short to do the whole.
Art is limitation; the essence of every picture is the frame. If you draw a giraffe, you must draw him with a long neck. If in your bold creative way you hold yourself free to draw a giraffe with a short neck, you will really find that you are not free to draw a giraffe.
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