A Quote by Thomas Cole
I never succeed in painting scenes, however beautiful, immediately upon returning from them. I must wait for a time to draw a veil over the common details.
Related Quotes
There has never been a painting that was more beautiful than nature. The model does not unfold herself to you, you must rise to her. She should be the inspiration for your painting. No man has ever over-appreciated a human being.
Now all you can do is wait. It must be hard for you, but there is a right time for everything. Like the ebb and flow of tides. No one can do anything to change them. When it is time to wait, you must wait.
I have never seen a beautiful painting of a beautiful woman. But you can take an ugly woman and make a beautiful painting of her. It is the painting itself that should be beautiful.
I cannot rest, I must draw, however poor the result, and when I have a bad time come over me it is a stronger desire than ever.
Beautiful colors exist, though we do not realize it, and are glimpsed behind the veil that modesty has drawn over them.
Forgiveness must be immediate, whether or not a person asks for it. Trust must be rebuilt over time. Trust requires a track record. If someone hurts you repeatedly, you are commanded by God to forgive them instantly, but you are not expected to trust them immediately, and you are not expected to continue allowing them to hurt you.
It is well for young men to have a model, but let them draw the curtain over it while they are painting.
Occasionally words must serve to veil the facts. But let this happen in such a way that no one become aware of it; or, if it should be noticed, excuses must be at hand to be produced immediately.
Shall any gazer see with mortal eyes, Or any searcher know by mortal mind; Veil upon veil will lift but there must be Veil upon veil behind.
As an artist, as I design and lay out a page, the less-important things, things I want you to spend less time looking at, I draw them very small, maybe even silhouette them. The more-important pivotal scenes, I draw them larger, maybe even a double-page spread.
Most people don't really like to pose. It is difficult to get them to be present and relaxed under this kind of molecular scrutiny. I want them to understand I'm not simply painting them: I am painting them within a precise moment in time, as a shadow moves across their eyebrows. Then it is gone. The moment is over.
Painting should educate and enrich. Modern painting merely offers a split-second emotion: You see it, you have an instant reaction and move on. Instead, real painting can be looked at over and over again and each time it has something new.
Over the meeting of the lovers I draw a veil. The burst of rapture with which they clasped each other in a wild embrace -- the many inquiries -- the fond regrets and thrilling hopes -- it is out of my power to convey. Let me, therefore, leave them to their happiness.
So you see, the quality of humor is not a personal or a national monopoly. It's as free as salvation, and, I am afraid, far more widely distributed. But it has its value, I think. The hard and sordid things of life are too hard and too sordid and too cruel for us to know and touch them year after year without some mitigating influence, some kindly veil to draw over them, from time to time, to blur the craggy outlines, and make the thorns less sharp and the cruelties less malignant.
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 am afraid that old women are more skeptical in their most secret heart of hearts than any man: they believe in the superficiality of existence as in its essence, and all virtue and profundity is to them merely a veil over this "truth," a most welcome veil over a pudendum--and so a matter of decency and modesty, and nothing else.
Related Authors
Ai Weiwei Quotes
Chinese
Artist
Andy Warhol Quotes
American
Artist
Claude Monet Quotes
French
Artist
David Hockney Quotes
English
Artist
Gerhard Richter Quotes
German
Artist
Henri Matisse Quotes
French
Artist
Kehinde Wiley Quotes
American
Artist
Leonardo da Vinci Quotes
Italian
Artist
Marcel Duchamp Quotes
French
Artist
Marina Abramovic Quotes
Serbian
Artist
Maurice Sendak Quotes
American
Artist
Michelangelo Quotes
Italian
Artist
Paul Cezanne Quotes
French
Artist
Robert Genn Quotes
Canadian
Artist
Robert Henri Quotes
American
Artist
Yoko Ono Quotes
American
Artist