Maurice de Vlaminck Quotes

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.

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.

I love the challenge of taking colors that are totally disparate and making them work together in an interesting way.

Proportion is that agreeable harmony between the several parts of a building, which is the result of a just and regular agreement of them with each other; the height to the width, this to the length, and each of these to the whole.

In painting, the most brilliant colors, spread at random and without design, will give far less pleasure than the simplest outline of a figure.

There are colors which cause each other to shine brilliantly, which form a couple which complete each other like man and woman.

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

A certain color tones you up. It's the concentration of timbres.

Spring is the fresh green of young corn and the pink blush of blossoms. Autumn contrasts the yellowed foilage with violet hues. Winter is the white of snow against its black forms ... Summer is the contrast of blues and the golden bronze of the corn.

I find color schemes that I just like and that just feel right.

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.

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

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.

Every true artist has been inspired more by the beauty of lines and color and the relationships between them than by the concrete subject of the picture.

The picture will have charm when each color is very unlike the one next to it.

Meadows trim with daisies pied, Shallow brooks and rivers wide Towers and battlements it sees Bosom'd high in tufted trees, Where perhaps some beauty lies, The cynosure of neighboring eyes.

Color is like music. The palette is an instrument that can be orchestrated to build form.

Beware of color theories. Theories in color photography are dangerous. The plain fact that there are so many of them proves my point.

For I shall learn from flower and leaf, That color every drop they hold, To change the lifeless wine of grief To living gold.

Here and there one sees the blush of wild rose haws or the warmth of orange fruit on the bittersweet, and back in the woods is the occasional twinkle of partridgeberries. But they are the gem stones, the rare decorations which make the grays, the browns and the greens seem even more quiet, more completely at rest.

Painting is drawing, with the additional means of color. Painting without drawing is just 'coloriness,' color excitement. To think of color for color's sake is like thinking of sound for sound's sake. Color is like music. The palette is an instrument that can be orchestrated to build form.

Fantasy is silver and scarlet, indigo and azure, obsidian veined with gold and lapis lazuli.

The relation of color and the relation of proportion are both based on the relation of position.

If the eye is constantly greeted by harmonious objects, having elegance of form and color, a standard of taste naturally grows up.

Perhaps blue, red, and yellow strike the mind more forcibly from there not being any great union between them, as martial music, which is intended to rouse the nobler passions.