A Quote by William Merritt Chase
I don't believe in making pencil sketches and then painting landscape in your studio. You must be right under the sky.
Related Quotes
The most interesting studio work, and perhaps the most practicable, is painting from pencil sketches and notes... It ensures the elimination of all facts but those essential to the effect.
I've found from years of trial that the only way I can work is to make sketches in pencil from Nature, purely as reference material for future use in the studio.
I don't work from drawings and colour sketches into a final painting. Painting, I think, today - the more immediate, the more direct - the greater the possibilities of making a direct - of making a statement.
The author describes how impressed she was with the detailed storyboards that outlined her movie – "not just sketches, but real art". She then describes a Hawaiian sunset as, "God painting His storyboard on the sky".
How to paint the landscape: First you make your bow to the landscape. Then you wait, and if the landscape bows to you, then, and only then, can you paint the landscape.
Studio Ghosts: When you're in the studio painting, there are a lot of people in there with you - your teachers, friends, painters from history, critics... and one by one if you're really painting, they walk out. And if you're really painting YOU walk out.
Until film is just as easily accessible as a pen or pencil, then it's not completely an art form. In painting you can just pick up a piece of chalk, a stick or whatever. In sculpture you can get a rock. Writing you just need a pencil and paper.
When you are painting a landscape, assume the painting is real and the landscape is an illusion.
Turning one's novel into a movie script is rather like making a series of sketches for a painting that has long ago been finished and framed.
Painting is a science, and should be pursued as an inquiry into the laws of nature. Why, then, may not landscape painting be considered as a branch of natural philosophy, of which pictures are but the experiments?
I don't work from drawings. I don't make sketches and drawings and color sketches into a final painting.
The kitchen was bright, cheerful yellow, the walls decorated with framed chalk and pencil sketches Simon and Rebecca had done in grade school. Rebecca had some drawing talent, you could tell, but Simon's sketches of people all looked like parking meters with tufts of hair.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
Until film is just as easily accessible as a pen or pencil, then it's not completely an art form. In painting, you can just pick up a piece of chalk, a stick, or whatever. In sculpture, you can get a rock. Writing, you just need a pencil and paper. Film has been a very elitist medium. It costs so much money.
Touch your inner space, which is nothingness, as silent and empty as the sky; it is your inner sky. Once you settle down in your inner sky, you have come home, and a great maturity arises in your actions, in your behavior. Then whatever you do has grace in it. Then whatever you do is a poetry in itself. You live poetry; your walking becomes dancing, your silence becomes music.
When you start working, everybody is in your studio- the past, your friends, enemies, the art world, and above all, your own ideas- all are there. But as you continue painting, they start leaving, one by one, and you are left completely alone. Then, if you are lucky, even you leave.
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