William Morris Hunt Quotes

I only use three primaries, so the nice thing is I can't have favorite colors.

All colors are the friends of their neighbors and the lovers of their opposites.

We've achieved this feeling, for instance, with the colors. The colors in the park are harmonious with each other, not like in big cities where they don't.

You can drain the life and nuances and complexity out of things by homogenizing them to make everything harmoniously dull, flat, conflict-free, strife-free.

I lack the magnificent richness of color that animates nature.

Some colors reconcile themselves to one another, others just clash.

Stick to primary colors.

I'm thinking about color all the time. Sometimes even as far back as the plotting sequence.

I don't believe architecture has to speak too much. It should remain silent and let nature in the guise of sunlight and wind

I'd like to get all the colors in the world into one painting

Color is crucial in painting, but it is very hard to talk about. There is almost nothing you can say that holds up as a generalization, because it depends on too many factors: size, modulation, the rest of the field, a certain consistency that color has with forms, and the statement you're trying to make.

Simplicity is the law of nature for men as well as for flowers.

All painting worth its name, unless one is talking about black and white, must include the idea of color as one of its necessary supports, in the same way that it includes chiaroscuro, proportion, and perspective.

At the same time that I'm finding the color world I want, I'm also trying to make the imagery, you know, by the nature of the strokes themselves.

I cannot copy nature in a servile way; I am forced to interpret nature and submit it to the spirit of the picture. From the relationship I have found in all the tones there must result a living harmony of colors, a harmony analogous to that of a musical composition.

Albert Durer, the famous painter, used to say he had no pleasure in pictures that were painted with many colors, but in those which were painted with a choice simplicity. So it is with me as to sermons.

Color is like cooking. The cook puts in more or less salt, that's the difference!

Do you want to improve the world? I don't think it can be done. The world is sacred. It can't be improved. If you tamper with it, you'll ruin it. If you treat it like an object, you'll lose it. There is a time for being ahead, a time for being behind; a time for being in motion, a time for being at rest; a time for being vigorous, a time for being exhausted; a time for being safe, a time for being in danger. The Master sees things as they are, without trying to control them. She lets them go their own way, and resides at the center of the circle.

It's an enormous amount of work: there are 28 separate buildings, and I work on the choice of the colors for everything. Outside colors, balcony colors, etc.. And all of this has to work together, in harmony.

Independent of harmony rules, any color 'goes' or 'works' with any other color, presupposing that their quantities are appropriate.

Only the series of colors on the canvas with all their power and vibrancy could, in combination with each other, render the chromatic feeling of that landscape.

I try to preload as little as I can. I like to come to the set with minimal preparation.

Many photographers are apt to confuse color with noise, and to congratulate themselves when they have almost blown you down with screeching hues alone-a bebop of electric blues, furious reds, and poison greens.

My tendency towards bareness and simplification has been practiced in three fields: modeling, colors, and the figuration of the personages.

Vermilion alone could render the brilliant red of the tiles on the opposite slope. The orange of the soil, the harsh crude colors of the walls and greenery, the ultramarine and cobalt of the sky achieved an extreme harmony that was sensually and musically ordered.