John French Sloan Quotes - Page 2

• Si tienes un interés especial, un prejuicio positivo sobre algún grupo de árboles o una loma en particular, la emoción que despiertan puede extenderse por toda la composición, y lo mismo ocurre con el resto de las cosas que sólo te interesan ligeramente.

  John French Sloan

  Fuego, Árbol, Especial

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• The important thing is to keep on drawing when you start to paint. Never graduate from drawing.

  John French Sloan

  Art, Drawing, Important

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• Don't think of sea as color. Make it a solid that can support a boat. Think of 'wetness' as color-texture.

  John French Sloan

  Thinking, Color, Sea

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• In the work of Seurat, you can see the dots of neutral colors carrying the form and then the dots of more intense color that make the color texture. It is a totally different principle that than of the Impressionists who used broken color to imitate visual effect.

  John French Sloan

  Color, Broken, Principles

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• There is a better chance of getting an exciting painting from a laboured study with texture than from a fine drawing without it.

  John French Sloan

  Drawing, Texture, Chance

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• En los últimos años, el énfasis en el trabajo original e individual ha contribuido en gran medida a producir una cosecha de falsificaciones excéntricas y ha alejado el arte de la corriente de la tradición. La tradición es nuestra herencia de conocimientos y experiencia. No podemos vivir sin ella.

  John French Sloan

  Arte, Pasado, Años

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• ...in the habit of watching every bit of human life I can see about my windows, but I do it so that I am not observed at it.

  John French Sloan

  Art, Window, Habit

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• A piece of drapery is like a necktie, hot stuff to paint, and one of the easiest things for a painter to kid himself into thinking he can do. Don't be fooled by the color. Go after the shape and character. Hew the forms together with colored tones.

  John French Sloan

  Character, Kids, Thinking

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• Sets of lines can say something about the direction and nature of the light. They are used by great fresco painters as a sign for shade.

  John French Sloan

  Light, Lines, Shade

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• When painting a landscape it is desirable to walk through the clumps and around the bushes, around the trees, the houses and the rocks. Familiarizing yourself in this way with the subject, you will get a better concept of the thing and not a visual and false snapshot.

  John French Sloan

  Rocks, House, Tree

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• Since we have to speak well of the dead, let's knock them while they're alive.

  John French Sloan

  Alive, Speak, Wells

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• El dibujo es la piedra angular de las artes gráficas y plásticas. El dibujo es la coordinación de símbolos de línea, tono y color en formaciones que expresan el pensamiento del artista.

  John French Sloan

  Art, Color, Drawing

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• Always think of drawing, getting the forms realized, emphasizing the design.

  John French Sloan

  Thinking, Drawing, Design

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• Think of drawing as a way of talking about the things that interest you. Think of those wonderful documents, drawings made on scraps of paper by the lesser Dutch masters while they were wandering around market places and sitting in saloons.

  John French Sloan

  Thinking, Talking, Drawing

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• Draw with the brush. Carve the form. Don't be carried away by subtleties of modeling and nice pigmentation at the expense of losing the form.

  John French Sloan

  Nice, Losing, Form

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• No seas tacaño con la pintura, no merece la pena.

  John French Sloan

  Paint, Materials, Stingy

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• Be sensitive to the qualities inherent in the medium. Paint honestly and avoid tricks.

  John French Sloan

  Quality, Sensitive, Paint

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• The great black and white draftsman, the sculptor, and the blind man know that form and color are separate. The form itself is what the blind man knows...Color is surface skin that fits over the form.

  John French Sloan

  Black And White, Men, Color

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• La atmósfera en un cuadro es nueve décimas partes miedo.

  John French Sloan

  Fear, Atmosphere, Nine

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• The artist does not see both eyes alike. There is always 'the eye' and the other eye... It adds life and plasticity to the drawing if the eye in the light is darker than the one in the shadow. It gives the head vividness.

  John French Sloan

  Eye, Artist, Light

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• Muchas grandes obras de arte sólo tienen forma, la escultura de la cosa. El color, utilizado para significar la realización por hombres como Tiziano y Rembrandt, da mayor vida y experiencia táctil a la obra.

  John French Sloan

  Art, Men, Color

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• To play your colors by eye is worse than playing the piano by ear.

  John French Sloan

  Eye, Play, Piano

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• 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.

  John French Sloan

  Mean, Thinking, Color

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• Drawing and composition are the same thing.

  John French Sloan

  Drawing, Composition

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• Find your own technique.

  John French Sloan

  Técnica

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