Camille Pissarro Quotes

It was a huge challenge to learn digital painting well enough so that computers don't pop into mind when one sees one.

I really admire paintings that look like an actual snapshot - I think that's just extraordinary.

It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism.

It would have been the equivalent of Jackson Pollock's attempts to copy the Sistine Chapel.

Collage is not a kitchen sink; it's not a refuge for the compositionally disabled.

Painting from life is a completely different monster, which I like. But because I've been painting from photography for so long, I've learned my best moves from photography.

I had wrung impressionism dry and I finally came to the conclusion that I know neither how to paint nor how to draw.

It's no easy matter to paint a background. I venture to say that the old painters had more difficulty with their grounds than with their figures. You know the story of Vandyke brought to Rubens with this recommendation: 'He already knows how to paint a background.' 'That is more than I can do!' was the reply.

With a limited palette, the older painters could do just as well as today what they did was sounder.

Painting is drawing, with the additional means of color.

Oh! I must somehow manage to do a figure in a few strokes.

My core competency has really informed my painting. The roots of editing stem from classical paintings - classic painters intended to drive your eye from this conflict to that intrigue, ending with a caprice. That is a montage, that is editing. It became a flipbook in later generations.

I am not a juicy painter.

In the hands of a master, light and shade is one of the great qualities of art.

Begin by learning to draw and paint like the old masters. After that, you can do as you like; everyone will respect you.

You can always tell a great painting, because when you get close there are all these nervous marks.

Then you learn about composition, you learn about old masters, you form certain ideas about structure. But the inhuman activity of trying to make some kind of jump or leap, where , the painting is always saying, 'What do you want from me? I can only be a painting.' You have to go from part to part, but you shouldn't see yourself go from part to part, that's the whole point.

The sublime only paints the true, and that too in noble objects; it paints it in all its phases, its cause and its effect; it is the most worthy expression or image of this truth. Ordinary minds cannot find out the exact expression, and use synonymes.

The purpose of subject matter is to veil technique. The great artist uses the cloak of resemblance to hide the means.

You may be perfect in playing the piano, and not be creative; you may play the piano most brilliantly, and not be a musician. You may be able to handle color, to put paint on canvas most cleverly, and not be a creative painter. You may create a face, an image out of a stone, because you have learned the technique, and not be a master creator. Creation comes first, not technique.

Make yourself a master of perspective, then acquire perfect knowledge of the proportions of men and other animals.

The art is the challenge which you must meet every day: the technique you should learn to control with time. The science and the art of photography are really one, and not opposed to each other.

I love art because it doesn't have rules like baseball. The only rule is to be good. That's the toughest thing to do.

I think the majority of musicians are interested in truth.

If you are not skillful enough to sketch a man jumping out of a window in the time it takes him to fall from the fourth storey to the ground, you will never be able to produce great works.