John Constable Quotes - Page 2

The output is far from smooth, and the impact on dispatchable plant required to deal with residual demand is highly significant. Our view is that plant operating under these conditions in the support role for wind will suffer: 1) reduced availability, 2) significantly reduced efficiency, and thus 3) higher emissions per MWh generated.

I ought to respect myself for my friends' sake, and my children's. It is time, at fifty-six, to begin, at least, to know oneself, - and I do know what I am not, and your regard for me has at least awakened me to believe in the possibility that I may yet make some impression with my "light" - my "dews" - my "breezes" - my bloom and freshness, - no one of which qualities has yet been perfected on the canvas of any painter in the world.

My art flatters nobody by imitation, it courts nobody by smoothness, nobody by petitelieness without either fal-de-lal or fiddle-de-dee; how then can I hope to be popular?

But the sound of water escaping from mill-dams, &c., willows, old rotten planks, slimy posts, and brickwork, I love such things. Shakespeare could make everything poetical; he tells us of poor Tom's haunts among "sheep cotes and mills." As long as I do paint, I shall never cease to paint such places. They have always been my delight.

No man who can do any one thing well will be able to any different thing equally well.

There has never been a boy painter, nor can there be. The art requires a long apprenticeship, being mechanical, as well as intellectual.

The world is rid of Lord Byron, but the deadly slime of his touch still remains.

A sketch will not serve more than one state of mind & will not serve to drink at again & again — in a sketch there is nothing but the one state of mind — that which you were in at the time.

I know very well what I am about and that my skies have not been neglected, though they often failed in execution - and often no doubt from over anxiety about them.

It is much to my advantage that several of my pictures should be seen together, as it displays to advantage their varieties of conception and also of execution, and what they gain by the mellowing hand of time which should never be forced or anticipated. Thus my pictures when first coming forth have a comparative harshness which at the time acts to my disadvantage.

I never saw an ugly thing in my life.

It is always my endeavour however in making a picture that it should be without a companion in the world. At least such should be a painters ambition.

I paint by all the daylight we have and that is little enough, less perhaps than you have by much... imagine to yourself how a purl must look through a burnt glass.

The climax of absurdity to which art may be carried when led away from nature by fashion, may be best seen in the works of Boucher.

Constable himself knew the value of such studies, for he rarely parted with them. He used to say of his studies and pictures that he had no objection to part with the corn, but not with the field that grew it.

I am anxious that the world should be inclined to look to painters for information about painting.

I am glad you encouraged me with the 'Stoke' [his painting 'Stoke-by-Nayland', circa 1835] What say you to a summer morning? July or August, at eight or nine o'clock, after a slight shower during the night, to enhance the dews in the shadowed part of the picture, under 'Hedge row elms and hillocks green.' Then the plough, cart, horse, gate, cows, donkey, &c. are all good paintable material for the foreground, and the size of the canvas sufficient to try one's strength, and keep one at full collar.

Only think that I am now writing in a room full of Claudes... almost of the summit of my earthly ambitions.

We must bear in recollection that the sentiment of the picture is that of solemnity, not gaiety & nothing garish, but the contrary - yet it must be bright, clear, alive fresh, and all the front seen.

I have added some ploughmen to the landscape form the park pales which is a great help, but I must try and warm the picture a little more if I can... but I look to do a great deal better in future. I am determined to finish a small picture in the spot for every one I intend to make in future. But this I have always talked about but never yet done - I think however my mind is more settled and determined than ever on this point.

When we speak of the perfection of art, we must recollect what the materials are with which a painter contends with nature. For the light of the sun he has but patent yellow and white lead - for the darkest shade, umber or soot.

I don't mind parting with the corn, but not with the field in which it was raised.

I have likewise made many 'skies' and effects - for I wish it could be said of me as Fuselli says of Rembrandt, 'he followed nature in her calmest abodes and could pluck a flower on every hedge - yet he was born to cast a steadfast eye on the bolder phenomena of nature'... We have had noble clouds & effects of light & dark & color.