A Quote by Salvador Dali
Begin by learning to draw and paint like the old masters. After that, you can do as you like; everyone will respect you.
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People will keep on taking them for theorists, when all they wanted was to paint in gay, bright colours, like the old masters.
What I always longed to do was to be able to paint like I can draw, most artists would tell you that, they would all like to paint like they can draw.
If you're an artist, you need to work. It doesn't matter how old you are, who you are. It doesn't matter if you're 12: if you draw, you draw. If you're 85 and you paint, you paint.
When a child’s life is full of sights, sounds, tastes, smells, textures, people and places, he will learn. When he feels safe and loved, he will learn. When parents begin to recover from their own ideas of what learning should look like (what they remember from school), then they begin a new life of natural learning, too.
The masters painted for joy, and knew not that virtue had gone out of them. They could not paint the like in cold blood. The masters of English lyric wrote their songs so. It was a fine efflorescence of fine powers.
I love paint. I like watercolours. I like acrylic paint... a little bit. I like house paint. I like oil-based paint, and I love oil paint. I love the smell of turpentine and I like that world of oil paint very, very, very much.
I would like to say to children, 'Don't stop drawing. Don't tell yourself you can't draw.' Everyone can draw. If you make a mark on a page, you can draw.
I'm still afflicted with the malady of research. I don't like what I do, and I paint it out, and paint it out again. I hope this mania will come to an end... I'm like a child at school. The white page must always be evenly written and slap! bang! and there's a blot! I'm still blotting and I'm forty years old.
I just love to draw. It's very intense for me. The day will just go by like the snap of a finger. A lot of times I'll draw or paint late into the night. When I am really concentrating, I kind of lose track of what I am doing.
I don't write just to be clever. But sometimes I do. And if you don't have an understanding of the language, then the way in which it's bent doesn't actually register. It's the old you-gotta-paint-like-them-before-you-can-paint-like-you thing.
I like watercolours. I like acrylic paint... a little bit. I like house paint. I like oil-based paint, and I love oil paint. I love the smell of turpentine and I like that world of oil paint very, very, very much.
Learning to read, for the brain, is a lot like an amateur ringmaster first learning how to organise a three-ring circus. He wants to begin individually and then synchronise all the performances. It only happens after all the separate acts are learned and practised long and well.
The Masters is where I won my first major, and I view this tournament with great respect. After a long and necessary time away from the game, I feel like I'm ready to start my season at Augusta.
I know my age is a little older and some people might say, 'hey this guy's an old guy'. But I'm learning every day. I don't feel like an old guy. I feel like I'm young. I feel like I'm in there just learning so much stuff. I'm just doing a whole lot more different things than I was before.
If you look at a painting that you love by one of the great masters, every time you go back to it, you see something different - a different attitude or brushstroke. 'Hamlet' is like an entire gallery of old masters.
A work of art is itself an object, first of all, and so manipulation is unavoidable: it's a prerequisite. But I needed the greater objectivity of the photograph in order to correct my own way of seeing: for instance, if I draw an object from nature, I start to stylize and to change it in accordance with my personal vision and my training. But if I paint from a photograph, I can forget all the criteria that I get from these sources. I can paint against my will, as it were. And that, to me, felt like an enrichment.
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