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By close inspection... you will discover the manner of handling the artifices of contrast, glazing, and other expedients, by which good colorists have raised the value of their tints, and by which nature has been so happily imitated.

Joshua Reynolds

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Joshua Reynolds
Age: 69 †
Born: 1723
Born: January 1
Died: 1792
Died: January 1
Painter
Plympton St Mary
Sir Joshua Reynolds
Sir Joshua Reynold
Sir Joshua Raynolds
Sir Reynolds
Sir Joshua Reynolds RA
Joshua Reynolds Sir
J.
Sir Reynolds
Joshua
Sir Reynolds
Joshua Reynolds (Sir)
sir j. reynolds
S. J. Reynolds
Sir J. Reynods
j. reynolds
Sir J. Reynold
Sir J. Reynoulds
S.J. Reynolds
Sir Jos Reynolds
[Sir Joshua Reynolds]
Mr. Reynolds
Values
Happily
Nature
Imitation
Artifices
Good
Contrast
Expedients
Manner
Tints
Discover
Imitated
Raised
Inspection
Close
Artifice
Value
Handling

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He who resolves never to ransack any mind but his own, will be soon reduced, from mere barrenness, to the poorest of all imitations he will be obliged to imitate himself, and to repeat what he has before often repeated.
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The distinct blue, red, and yellow colors... though they have not the kind of harmony which is produced by a variety of broken and transparent colors, have the effect of grandeur.
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Every art, like our own, has in its composition fluctuating as well as fixed principles. It is an attentive inquiry into their difference that will enable us to determine how far we are influenced by custom and habit, and what is fixed in the nature of things.
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The great end of all arts is to make an impression on the imagination and the feeling. The imitation of nature frequently does this. Sometimes it fails and something else succeeds.
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Few have been taught to any purpose who have not been their own teachers.
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While I recommend studying the art from artists, Nature is and must be the fountain which alone is inexhaustible, and from which all excellences must originally flow.
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The mind is but a barren soil a soil which is soon exhausted, and will produce no crop, or only one, unless it be continually fertilized and enriched with foreign matter.
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It is impossible that anything will be well understood or well done that is taken into a reluctant understanding, and executed with a servile hand.
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Our Exhibitions [The Royal Academy] have... a mischievous tendency, by seducing the Painter to an ambition of pleasing indiscriminately the mixed multitude of people who resort to them.
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Our studies will be forever, in a very great degree, under the direction of chance like travelers, we must take what we can get, and when we can get it - whether it is or is not administered to us in the most commodious manner, in the most proper place, or at the exact minute when we would wish to have it.
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It is but a poor eloquence which only shows that the orator can talk.
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Common observation and a plain understanding is the source of all art.
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The great use of copying, if it be at all useful, should seem to be in learning color yet even coloring will never be perfectly attained by servilely copying the model before you.
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The art of seeing nature, or, in other words, the art of using models, is in reality the great object, the point to which all our studies are directed.
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Genius is supposed to be a power of producing excellences which are put of the reach of the rules of art: a power which no precepts can teach, and which no industry can acquire.
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Martial music has sudden and strongly marked transitions from one note to another which that style of music requires while in that which is intended to move the softer passions, the notes imperceptibly melt into one another.
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Though colour may appear at first a part of painting merely mechanical, yet it still has its rules, and those grounded upon that presiding principle which regulates both the great and the little in the study of a painter.
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A passion for his art, and an eager desire to excel, will more than supply an artist with the place of method.
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I do not see in what manner practice alone can be sufficient for the production of correct, excellent, and finished pictures. Works deserving this character never were produced, nor ever will arise, from memory alone.
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From a slight, undetermined drawing, where the ideas of the composition and character are just touched upon, the imagination supplies more than the painter himself, probably, could produce. And we accordingly often find that the finished work disappoints the expectation that was raised from the sketch.
Joshua Reynolds