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John Collier - From the Beauty category:
There can be no better training in the discrimination of what is healthy and beautiful in men and women than a severe course of drawings from casts of antique [Greek] statues. (John Collier)
John Collier - From the Colour category:
- A Manual of Oil Painting, 1890...
Economy should be studiously avoided in the setting of the palette; there is nothing more likely to give a bad style in oil painting than insufficiency of colours. (John Collier)
John Collier - From the Competence category:
As a beginning student, an artist must first of all learn to represent faithfully any object that he has before him. The man who can do it is a painter; the man who cannot do it is not one. (John Collier)
John Collier - From the Creativity category:
Every contrivance of man, every tool, every instrument, every utensil, every article designed for use, of each and every kind, evolved from a very simple beginnings. (John Collier)
John Collier - From the Education category:
The student can be his own teacher, and correct his own faults. (John Collier)
John Collier - From the Harmony category:
Unfortunately, no rules can be given to guide him [the student] in [the] difficult question of harmony; he must try different combinations, and not be content until he gets something which he feels at once is beautiful. (John Collier)
John Collier - From the Imagination category:
Imagination is not antagonistic to knowledge. On the contrary, the highest imagination is that which can assimilate all kinds of knowledge and make use of it as a vantage ground from which to soar to higher things. (John Collier)
John Collier - From the Lines category:
There is a curious tendency in the human mind to imagine it sees a continuation of any line when it knows that the object is continuous, and this is a tendency against which the artist should be particularly on his guard. (John Collier)
John Collier - From the Mistakes category:
In painting, as in everything else, there is a fatal tendency to become accustomed to one's faults. (John Collier)
John Collier - From the Models category:
I think it is never worth while to work from models who are positively ugly. It is a dangerous thing to the artist to get used to ugliness in any form. (John Collier)
John Collier - From the Nudes category:
It matters not what kind of figure-pictures he [the artist] wishes to paint, he will never be able to draw the figure properly, whether draped or otherwise, unless he has gone through a preliminary course of study from the nude. (John Collier)
John Collier - From the Oils category:
-A Manual of Oil Painting, 1890
Even when we have done our best to hasten the drying of our picture, it will certainly not be in a fit state to work on again until a clear day has elapsed. This is one of the serious inconveniences of oil painting; but it can be easily met by having two pictures going on on alternate days, which is not a bad thing in other ways, as the change of subject gives the eye a rest. (John Collier)
John Collier - From the Oils category:
-A Manual of Oil Painting, 1890
As a general rule, one should never touch an oil painting unless it is quite wet or quite dry. Unless very exceptional effects are required, there is nothing more fatal than to work at a picture when it is sticky. (John Collier)
John Collier - From the Painting category:
-on landscape painting...
If the picture be of any size, a shed should be built in which the painter can stand whilst at work. The front and one side should be open to the view and to give plenty of light - the back facing toward the prevailing wind will be shelter enough. (John Collier)
John Collier - From the Plein-Air category:
With all our precautions in choosing a simple subject, and only working grey days, it will be found that anything out-of-doors is apt to change its colour and tone in a very perplexing way. (John Collier)
John Collier - From the Portraiture category:
The artist should struggle... to prevent his sitter from being bored. This is one of the great difficulties of portrait painting, and can in most cases be best met by encouraging the sitter to talk... (John Collier)
John Collier - From the Portraiture category:
If the sitter will not talk, the next best plan is to get some one to read to him; but amused he must be at all costs, or the portrait will inevitably reflect the patient misery of the subject. (John Collier)
John Collier - From the Seeing category:
No amount of mental prejudice can prevent the eye from passing a sound judgment on two patches of tone placed in immediate juxtaposition. (John Collier)
John Collier - From the Struggle category:
The artist has to struggle all his life to disentangle his vision from all the things his intellect has put into it, and never quite succeeds at the best. (John Collier)
John Collier - From the Teaching category:
The painter who knows his business will not, with some few exceptions, waste his time in giving instruction, and the instruction to be gained from a painter who does not know his business is worse than useless. (John Collier)
John Collier - From the Time category:
Although a painter should never be in a hurry, yet he should always wish to do his work in the shortest possible time. (John Collier)
John Collier - From the Tones category:
There is no difficulty in painting detail, the real difficulty lies in getting the general truth of tone and tint. (John Collier)
John Collier - From the Writing category:
It is a melancholy fact that more nonsense can be talked about art than about any other subject, and writers of treatises on painting, from the great Leonardo downwards, have not been slow to avail themselves of this privilege. (John Collier)
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