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However exquisite the contours or the colours of clouds, trees, rivers or hills, may be in themselves, they must be sacrificed if they do not conform with the general plan.

Walter J. Phillips

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Walter J. Phillips
Age: 78 †
Born: 1884
Born: October 25
Died: 1963
Died: July 5
Painter
Wood Carver
Barton-upon-Humber
Lincolnshire
Walter Joseph Phillips
Walter Phillips
Phillips
General
Colour
Plans
Hills
Tree
Trees
May
Clouds
Contours
Must
Rivers
Sacrificed
Plan
Colours
Sacrifice
Exquisite
However
Conform

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Difficulties will assail you only when you lack in concentration and persistence.
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Luminosity is a quality dependent as much on technique as on the physical properties of individual pigments.
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Since art exists for humanity it is not unreasonable to assume that humanity has some rights in the matter. Who pays the piper calls the tune. An artist cannot be at once a rebel and a comfortable citizen.
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A painter may be an abandoned mimic at school he copies his teachers, which is only right, but he copies in turn every artist in town, which is not. He may do you that honour.
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Submit your work to interested societies for exhibition where the critics in the light of their physical well-being and according to the extent of their knowledge, may appraise them conveniently.
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Etching will suggest subtle variations of tone, the most delicate shadings, all with black lines, which, as far as lines go, are unsurpassed for sheer beauty.
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A landscape painting is essentially emotional in origin. It exists as a record of an effect in nature whose splendour has moved a human heart, and according as it is well or ill done it moves the hearts of others.
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Style is instinctive and few achieve it in a notable degree. Its development is not hastened by instruction. It comes or it doesn't. It will take care of itself.
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Aerial perspective has nothing to do with line, but concerns tones and colours, by the delicate manipulation of which an artist can suggest infinite distance.
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It is evident that no derivative laws can teach the young student to see and apprehend colour in nature. His perception needs development as urgently as his muscles.
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Watercolour painting is notoriously difficult - so much depends on directness and speed, and certainty of intention. Tentative or fumbling touches are disastrous, for they cannot be obliterated easily.
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It is remarkable how very individual technique becomes in watercolour. Every man of personality finally arrives at a method peculiarly his own, as unique as his own fingerprint.
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The importance of colour is as nothing compared with that of form, chiaroscuro and arrangement. They are the true and enduring bases of pictorial art.
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Many rules for the creation of colour schemes have been published in recent years, but, while they are popular in commercial studies, I know of no creative artist who employs them. They are, per se, restrictive their use precludes any chance of adventuring in this interesting field.
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It is often said that the modern exhibition has ruined painting. It is an unfortunate fact that it does encourage competition, so that, to attract attention to his work, an artist is tempted to descend to sensationalism, whether it is expressed by strong colour, grotesque handling, unusual subject, or sheer size.
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For an intelligent estimate of your technique go to another artist working in the same medium.
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Let it not be assumed that the artist is so smug as to dislike true criticism. No sincere artist was ever completely satisfied with his labour.
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Any subject is suitable provided it is of sufficient interest, but the design must be very carefully considered, and plenty of time and thought given to its construction.
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Beauty, pleasure, and the good things of life are intensified, and perhaps only exist, by reason of contrast.
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It is not in the nature of lenses to tell the whole truth. They are instruments of exaggeration and belittlement.
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