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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
May
Clouds
Contours
Must
Rivers
Sacrificed
Plan
Colours
Sacrifice
Exquisite
However
Conform
General
Colour
Plans
Hills
Tree
Trees

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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 true artist and the sane collector never will tolerate insincerity and impudence.
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Copying is an art in itself, demanding the greatest technical ability, especially in watercolour. However well done, the copy invariably lacks that nascent, ineffable, but definite quality, provided by the furious enthusiasm with which an original is created, an essential spontaneity that defies reproduction.
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Water is the most expressive element in nature. It responds to every mood from tranquility to turbulence.
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The painter who is so enamoured by the beauties of the parts of a landscape, that he strives to represent all, cannot succeed. His picture will be an arrangement of a series of portraits of things without unity... There must be variety and contrast, but in measured doses.
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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 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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It is not in the nature of lenses to tell the whole truth. They are instruments of exaggeration and belittlement.
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Take away a painter's vanity, said a famous landscape painter, and he will never touch a pencil again.
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While sincerity and over-anxiety can spoil a picture, through superfluous elaboration and unnecessary correction, the carelessness that would leave it in an unfinished state is even more reprehensible.
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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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Be content with nothing less than perfection.
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Rhythm is as necessary in a picture as pigment it is as much a part of painting as of music.
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Difficulties will assail you only when you lack in concentration and persistence.
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A mistake in drawing becomes difficult to detect when the eye is familiar with it.
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The most interesting studio work, and perhaps the most practicable, is painting from pencil sketches and notes... It ensures the elimination of all facts but those essential to the effect.
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A horizontal or vertical line lacks energy, compared with one that deviates from either. The difference between these graphic expressions is the difference between movement and repose.
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The artist reserves the right to remove a blot on the landscape, to change positions of things, to suit his composition, providing only that he does not transgress the laws of probability.
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Many cherish the idea that a photograph is an exact presentment of nature, and accept without question the paradox that a photograph cannot lie. Actually there never was a more unmitigated liar.
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The portrait painter... If he insults his sitters his occupation is gone. Whether he paints the should instead of the features, or the latter with all its natural blemishes, he is as presumptuous as if he shouted, 'What a face. Hide it.' which would never do, although it is analogous to what landscape painters are doing every day.
Walter J. Phillips