William Morris Hunt Quotes

I got into animals by drawing hair follicles. I liked drawing hair, and from that I got into feathers and fur, then into images of animals. The patterning is the same, but the proportions of the body change from one animal to the next. A lot of it is just geometry and consciousness.

When I went to art school in Romania, we learned the Golden Ratio Technique Theory, which taught us that when you draw a portrait and want to show an emotion, you change the eyebrows. They are the most important feature on the face.

The spectator, as he walks the gallery, will stop, or pass along. To give a general air of grandeur at first view, all trifling, or artful play of little lights, or an attention to a variety of tints is to be avoided; a quietness and simplicity must reign over the whole work, to which a breadth of uniform and simple color will very much contribute.

In your reading, find books to improve your color sense, your sense of shape and size in the world.

I couldn’t get near what I wanted through seeing, recognizing and recreating, so I stood the problem on its head. I started studying squares, rectangles, triangles and the sensations they give rise to It is untrue that my work depends on any literary impulse or has any illustrative intention. The marks on the canvas are sole and essential agents in a series of relationships which form the structure of the painting.

I was teaching live drawing in a community college and students started zoning in on the face and spending a couple of hours on that and then putting the rest of the body on the face only in the last hour. It didn't work to just tell them, 'Well, you're really not thinking of the body as a totality.' So in desperation I would put a drape over the model's head so they couldn't see it. They had to draw the body and then at the end of the session for an hour I would take the drape off just to try to reverse their procedure.

Every great artist must begin by learning to draw with the single line, and my advice to young animators is to learn how to live with that razor-sharp instrument or art. An artist who comes to me with eight or ten good drawings of the human figure in simple lines has a good chance of being hired. But I will tell the artist who comes with a bunch of drawings of Bugs Bunny to go back and learn how to draw the human body. An artist who knows that can learn how to draw ANYTHING, including Bugs Bunny.

Those dabs of paint and lines become art when form and flow are created out of lower-level perceptual elements. When they combine harmoniously they give rise to perspective, foreground and background, and ultimately to emotion and other aesthetic attributes.

My forms are not abstractions of things in the real world. They're also not symbols. I would say that my job is to invent these forms and to put them together in a way that keeps your interest, to give the forms a quirky identity so you can engage with them, so you realize there's an inner intelligence or logic. If you stop asking what they mean, or what they remind you of, and just look at them for 29 seconds, you find that they want to explain themselves and show you how much every tiniest detail is related to the whole.

Simple old-fashioned values that come from a sense of community are the key to a great society. I believe we all have that sense from childhood memories, when life was simple. It's those memories that should drive us to reflect on our values.

You can always-always-give something, even if it's a simple act of kindness! If everyone were to give in this way and didn't scrimp on kindly words, there would be much more love and justice in the world!

If you give people more perspective of one object, they start to see it more clearly.

I think most of us look at personal delights as somewhere between minimally important and borderline immoral. We like them, but we're not sure we ought to. We seldom give them a high priority when other demands are competing for our attention. Nevertheless, the soul feeds on simple joys and withers without them.

The straight line, a respectable optical illusion which ruins many a man.

Being blind is as simple as closing your eyes. The blind don't act any different than you or I. You never see a blind person going around saying, 'I'm blind.' So if you want to play blind just close your eyes and keep them closed and fare thee well.

If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.

Titian, Tintoretto, and Paul Veronese absolutely enchanted me, for they took away all sense of subject... It was the poetry of color which I felt, procreative in its nature, giving birth to a thousand things which the eye cannot see, and distinct from their cause.

Always, the eye sees more than the mind can comprehend, and we go through life self-blinded to much that lies before us. We want a simple world, but we live in a magnificently complex one, and rather than open ourselves to it, we perceive the world through filters that make it less daunting.

Each eye can have its vision separately; but when we are looking at anything our vision, which in itself is divided, joins up and unites in order to give itself as a whole to the object that is put before it.

Nevertheless, the basic forms, spaces, and appearances must be logical

Melodies can be good depending on the context. You can have a simple melody, and if the harmony behind it is interesting, it can make a very simple melody really different. You can also have a complex melody. The more complex it is, the harder it is to sing, and then sometimes it can sound contrived. You could write a melody that would be fine on a saxophone but if you give it to a singer, it can sound raunchy.

You can not have significance in this life if it is all about you. You get your significance, you find your joy in life through service and sacrifice - it's pure and simple.

Cubism did not accept the logical consequences of its own discoveries; it was not developing abstraction towards its own goal, the expression of pure reality.

I am confident that Assad's days are numbered. But what we can't do is to simply suggest that, as Governor Romney at times has suggested, that giving heavy weapons, for example, to the Syrian opposition is a simple proposition that would lead us to be safer over the long term.

It is vital that we serve each other in the kingdom. . . . So often, our acts of service consist of simple encouragement or of giving . . . help with mundane tasks, but what glorious consequences can flow . . . from small but deliberate deeds!