Eugene Delacroix Quotes
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Experience alone can give, even to the greatest talent, that confidence in having done all that could be done.
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Delsarte tells me that Mozart stole outrageously from Galuppi, in the same way, I suppose, that Molière stole from anybody anywhere, if he found something work taking. I said that what was Mozart had not been stolen from Galuppi, or from anyone else for that matter.
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The only ones who can really benefit by consulting the model are those who can produce their effect without a model.
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Remember the enemy of all painting is gray: a painting will almost always appear grayer than it is, on account of its oblique position under the light.
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Experience has two things to teach. The first is that we must correct a great deal and the second, that we must not correct too much.
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There is a man whose qualities can be savored by people who are getting old... The painter qualities are carried to the highest point in his work: what he does is done - through and through; when he paints eyes, they are lit with the fire of life.
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We work not only to produce, but to give value to time.
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Seeing artistically does not happen automatically. We must constantly develop our powers of observation.
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Finishing a painting demands a heart of steel: everything requires a decision, and I find difficulties where I least expect them... It is at such moments that one fully realizes one's own weaknesses.
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Do all the work you can; that is the whole philosophy of the good way of life.
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In abandoning the vagueness of the sketch the artist shows more of his personality by revealing the range but also the limitations of his talent.
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I believe it safe to say that all progress must lead, not to further progress, but finally to the negation of progress, a return to the point of departure.
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Perfect beauty implies perfect simplicity, a quality that at first sight does not arouse the emotions which we feel before gigantic works, objects whose very disproportion constitutes an element of beauty.
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All painting worth its name, unless one is talking about black and white, must include the idea of color as one of its necessary supports, in the same way that it includes chiaroscuro, proportion, and perspective.
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I am carrying out my plan, so long formulated, of keeping a journal. What I most keenly wish is not to forget that I am writing for myself alone. Thus I shall always tell the truth, I hope, and thus I shall improve myself. These pages will reproach me for my changes of mind.
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Let a man of genius make use of photography as it should be used, and he will raise himself to a height that we do not know.
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Talent does whatever it wants to do. Genius does only what it can.
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I have told myself a hundred times that painting - that is, the material thing called a painting - is no more than a pretext, the bridge between the mind of the painter and the mind of the spectator.
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In every art we are always obliged to return to the accepted means of expression, the conventional language of the art. What is a black-and-white drawing but a convention to which the beholder has become so accustomed that with his mind's eye he sees a complete equivalent in the translation from nature?
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The secret of not having worries, for me at least, is to have ideas.
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Nature is a dictionary; one draws words from it.
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Even when we look at nature, our imagination constructs the picture.
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The first virtue of a painting is to be a feast for the eyes.
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If you are not skillful enough to sketch a man jumping out of a window in the time it takes him to fall from the fourth storey to the ground, you will never be able to produce great works.