William Morris Hunt Quotes

The artist is an interpreter of Nature. People learn to love Nature through pictures. To the artist, nothing is in vain; nothing beneath his notice. If he is great enough, he will exalt every subject which he treats.

Most of us live for the critic, and he lives on us. He doesn't sacrifice himself. He gets so much a line for writing a criticism. If the birds should read the newspapers, they would all take to changing their notes. The parrots would exchange with the nightingales, and what a farce it would be!

Don't talk of what you are 'going to do!' Do it!

The mission of art is to represent nature not to imitate her.

How are we going to make painters by lecturing to them? We are going to make questioners, doubters, and talkers. We are going to make painters by painting ourselves, and by showing the paintings of others. By working frankly from our convictions, we are going to make them work frankly from theirs.

Imagination comes in after we have experience.

You are to draw not reality, but the appearance of reality!

Painting is the only universal language. All nature is creation's picture book. Painting alone can describe every thing which can be seen, and suggest every emotion which can be felt. Art reaches back into the babyhood of time, and is man's only lasting monument.

Children should learn to draw as they learn to write, and such a mystery should not be made of it. They should be encouraged, not flattered... then [later in life] double the effort is required to get the facility which might have been gained insensibly.

Elaboration is not beauty, and sand-paper never finished a piece of bad work.

You can always draw as well as you know how to. I flatter myself that I feel more than I express on canvas; but I know that is not so.

Strive for simplicity! Don't have the face a checkerboard of tints! Use such colors as nature uses, but not try to keep them distinct! Your work may be called monotonous, but one tone is better than many which do not harmonize.

Give up the idea of 'color' for awhile! Consider masses - values, only... One dark and one light place in every picture.

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.

Believe that time is going to help you do what you want.

You can't do a fine thing without having seen fine examples.

There is force and vitality in a first sketch from life which the after-work rarely has... In your sketches keep the first vivid impression! Add no details that shall weaken it! Look first for the big things! 1st. Proportions! 2nd. Values - or masses of light and shade. 3rd. Details that will not spoil the beginnings!

Compare constantly, lines and angles... Hold looking-glass before your model and your drawing. Take a second's glance only, and see if the impression be the same. If it be not, ask, 'What is the difference?

Don't put needless expense into painting a head! Don't try to match tints! Rose and pearly colours blend into each other so that no one can unite them if painted separately. Keep the impression of your subject as one thing!

Let me give you a few simple rules for learning to draw. First, see of what shape the whole thing is. Next, put in the line that marks the movement of the whole. Don't have more than one movement in a figure; you can't patch parts together. Simple lines; then simple values. Establish the fact of the whole. Is it square, oblong, cube, or what is it?

Beauty is that little something that fills the whole world, and is contained neither in a single straight nose, a long eyelash, nor a blue mountain. Some see it in a leg of mutton, others in a compound fracture; and to expect others to accept one's own definition of it is as absurd as to expect all humanity to use the same toilet-brush.

I don't like persuaded sitters. I never could paint a cat if the cat had any scruples, religious, superstitious, or otherwise, about sitting.

What is nobler than a man wresting and wringing his bread from the stubborn soil by the sweat of his brow and the break of his back for his wife and children!

There is force and vitality in a first sketch from life which the after-work rarely has. You want a picture to seize you as forcibly as if a man had seized you by the shoulder! It should impress you like reality!

Inspiration is nothing without work.

Art teaches you the philosophy of life, and if you can't learn it from art, you can't learn it at all. It shows you that there is no perfection. There is light, and there is shadow. Everything is in half tint.

It gives a fellow an awful shiver to hear the first shovelful of dirt and gravel rattle down upon the coffin; but after it is covered, it falls gently and makes no sound. The feeling of rest is perfect. There's no more nagging, no more pain!

I tell you it's no joke to paint a portrait. I wonder that I am not more timid when I begin. I feel almost certain that I can do it. It seems very simple. I don't think of the time that is sure to come when I almost despair, when the whole thing seems hopeless.

It's impossible to make a picture without values. Values are the basis. If they are not, tell me what is the basis.

There's lots of fun in this world, after all. And if there isn't, there is in the next. And we're going there, sure.

Nature is economical. She puts her lights and darks only where she needs them.

When an artist leaves his work to amuse people, he loses his time and their respect. If people are to be amused by artists, it must be by employing them in their legitimate occupation.

How are things visible? Can you see an egg against a white background? Not by drawing a line around it can you make it evident.