Winslow Homer Quotes

I had always done these 3D things that you could walk through. They were always done off the seat of my pants without blueprints or course.

The majority of my work is from life. I spend most fine days from May to October painting outside.

I have never had a studio, and I do not understand shutting oneself up in a room. To draw, yes; to paint, no.

I prefer every time a picture composed and painted outdoors.

I am a sur le motif painter, always in-the-field, with a French easel that folds up into a box, with backpack straps on it. Many of the sites I haunt are desolately beautiful. Few other people go there. I am gloriously alone, unmolested, and absorbed in attempting to see what I am looking at.

I learned a lot of painting tricks painting outside.

I work pretty quickly. I'd probably draw somebody once or twice in pencil, then just go to ink. Not really care too much about it, and it just kind of worked out.

I don't believe in making pencil sketches and then painting landscape in your studio. You must be right under the sky.

I paint on the ground. I paint with sticks, with big paint cans, and whatever else falls in it. Basically, what I'm doing is capturing unbridled emotion and putting it on canvas. It's like capturing lightning in a bottle.

If the painter works directly from nature, he ultimately looks for nothing but momentary effects; he does not try to compose, and soon he gets monotonous.

I paint from the top down. From the sky, then the mountains, then the hills, then the houses, then the cattle, and then the people.

Of course you can still paint landscape - it's not been worn out.

When I work alone, it can be like dabbling with a canvas. Maybe you paint over bits, and it starts to form its own life and lead you off in a direction. It becomes an intuitive, subconscious process.

When I'm painting, I'm not aware of what I'm doing. It's only after a get acquainted period that I see what I've been about. I've no fears about making changes for the painting has a life of its own.

When you make art, you get really invested in it. When art happens by accident and you were just along for the ride? It's way more fun.

The way I put together images is a reactive art.

The painter must give a completely free rein to any feeling or sensations he may have and reject nothing to which he is naturally drawn.

Filmmakers are going to make films, just like painters are going to paint.

When I am in my painting, I'm not aware of what I'm doing.

But the approach to recording this album was kind of an organized, chaotic approach where I wanted to maintain and preserve that wild abandon to creating.

If I'm feeling like rock, we'll do some of that, and if I'm feeling some other way, we might do some of that. So, that's typically how I record and write and play music and anything else.

I realized it wasn't necessary to work in the traditional methods of carving and casting.

I really don't have a theme when I start a sculpture. The rock guides me to the final sculpture. I think that is true for many creative sculpture artists.

Only when he no longer knows what he is doing does the painter do good things.

I've got to be honest: I don't listen to any music now. I don't even listen to mine! I like to walk fresh into the studio and have ideas that come straight out of me.