The great paintings are the ones with the most subtle value relationships. The closer you could bring your values and still distinguish between them, the stronger you were as a painter.

If you're going to paint from photos, make sure you've painted for at least ten years.

The eye and soul are caressed in the contemplation of form and colour. The subtle changes of colour over a surface - transitions that are like music - are intangible in their reaction upon us. There is an immediate sensuous appeal!

A picture is a work of art, not because it is 'modern,' nor because it is 'ancient,' but because it is a sincere expression of human feeling.

In the anxiety to get beautiful colour harmony do not exhaust all combinations on one canvas.

Trust your feelings entirely about colour, and then, even if you arrive at no infallible colour theory, you will at least have the credit of having your own colour sense.

Too much reality in a picture is always a disappointment to the imaginative soul. We love suggestion and not hard facts.

We must have design in a picture even at the expense of truth. You are using nature for your artistic needs.

The underlying principles or fundamentals should be so hidden away by the beauty they are eventually to support, that it would require much digging to disclose them.

Clouds are fascinating to paint because they are the only element in a landscape that possesses free movement.

Do not be afraid that too much labour over the composition is going to kill the spontaneity. Those who absorb and digest their experiences are, of a sudden, mountains of strength and can produce pictures with spontaneous start and finish.

You will learn to paint trees only by understanding them, their growth, their nature, their movement - and realizing that they are conscious living things. A tree seldom if ever encroaches upon the liberty of another tree. It never wastes its growth in unnecessary twistings.

Art is a thing so much of the imagination, of the soul, that it is difficult to descend to the fundamentals of technique and yet make it plain to the student that these are but the 'means' and not an end in themselves.