Winslow Homer Quotes

The body, in 'La Belle Noiseuse,' was the source of the artist's creativity.

When I first drew him I had eyes in there and it didn't look right.

A distinction is made between artists who work directly from nature and those who work purely from imagination. Neither if these methods should be preferred to the exclusion of the other. Often both are used in turn by the same man.

Painting is as close as a person can get to actually capturing the heat of the moment.

The important thing is to remember what most impressed you and to put it on canvas as fast as possible.

I painted the picture, and in the colors the rhythm of the music quivers. I painted the colors I saw.

Preliminary drawings or sketches in oil or pastel often have an immediacy and emotional appeal far greater than the final canvas.

It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.

I'm like the painter with his nose to the canvas, fussing over details. Gazing from a distance, the reader sees the big picture.

One must always draw, draw with the eyes, when one cannot draw with a pencil.

An art aims, above all, at producing something beautiful which affects not our feelings but the organ of pure contemplation, our imagination.

A work of art which did not begin in emotion is not art.

In any art, you don't know in advance what you want to say - it's revealed to you as you say it. That's the difference between art and illustration.

With the brush we merely tint, while the imagination alone produces colour.

There are two things in the painter, the eye and the mind; each of them should aid the other.

The aim of the poet, or other artist, is first to make something; and it's impossible to make something out of words and not communicate.

I guess artists are living inspiration. There's something very pure about a person that fantasizes. I like hearing their stories, watching them work. Their take on the world interests me. It's not unified.

I always feel like the art's there and I just see it, so it's not really a lot of work.

If the audience knew what they wanted then they wouldn't be the audience, they would be the artist.

As an artist, I understand that, and I value the creative input of the artist.

For a long time, I was brilliantly achieving drawings that were inert, suffocating and dark. If ever you need illustrations that are inert, suffocating and dark, I know how to do them.

I read things and imagine them and then kind of start trying to kind of take what I imagine and make it visual for everybody else to see. It just happens to be my personal vision, and every person's is going to be different, every book reader.

Technique is really personality. That is the reason why the artist cannot teach it, why the pupil cannot learn it, and why the aesthetic critic can understand it.

A great painter can paint something really complex, but they can crystallize it into something really simple.

As an artist, you're just observing the world around you. So much is overwhelming and it's all so inescapable that it can't all speak to general cultural statements.