Joshua Reynolds Quotes about Art

A room hung with pictures is a room hung with thoughts.

The great end of all arts is to make an impression on the imagination and the feeling. The imitation of nature frequently does this. Sometimes it fails and something else succeeds.

What has pleased and continues to please, is likely to please again; hence are derived the rules of art, and on this immovable foundation they must ever stand.

An artist who brings to his work a mind tolerably furnished with the general principles of art, and a taste formed upon the works of good artists – in short, who knows in what excellence consists - will, with the assistance of models... be an overmatch for the greatest painter that ever lived who should be debarred such advantages.

But young men have not only this frivolous ambition of being thought masters of execution, inciting them on the one hand, but also their natural sloth tempting them on the other. They are terrified at the prospect before them, of the toil required to attain exactness. The impetuosity of youth is disgusted at the slow approaches of a regular siege, and desires, from mere impatience of labour, to take the citadel by storm. They wish to find some shorter path to excellence, and hope to obtain the reward of eminence by other means, than those which the indispensable rules of art have prescribed.

Those who are not conversant in works of art are often surprised at the high value set by connoisseurs on drawings which appear careless, and in every respect unfinished; but they are truly valuable... they give the idea of a whole.

Art in its perfection is not ostentatious; it lies hid and works its effect, itself unseen.

I wish you to be persuaded that success in your art depends almost entirely on your own industry; but the industry which I principally recommend is not the industry of the hands, but of the mind.

In the practice of art... it is necessary to keep a watchful and jealous eye over ourselves; idleness, assuming the specious disguise of industry... may be employed to evade and shuffle off real labor - the real labor of thinking.

The excellence of every art, must consist in the complete accomplishment of its purpose

Genius is supposed to be a power of producing excellences which are put of the reach of the rules of art: a power which no precepts can teach, and which no industry can acquire.

Style in painting is the same as in writing; a power over materials, whether words or colors, by which conceptions or sentiments are conveyed.

The true test of all the arts is not solely whether the production is a true copy of nature, but whether it answers the end of art, which is to produce a pleasing effect upon the mind.

It is to Titian we must turn our eyes to find excellence with regard to color, and light and shade, in the highest degree. He was both the first and the greatest master of this art. By a few strokes he knew how to mark the general image and character of whatever object he attempted.

Poetry operates by raising our curiosity, engaging the mind by degrees to take an interest in the event, keeping that event suspended, and surprising at last with an unexpected catastrophe. The painter's art is more confined, and has nothing that corresponds with, or perhaps is equivalent to, this power and advantage of leading the mind on, till attention is totally engaged. What is done by Painting, must be done at one blow; curiosity has received at once all the satisfaction it can ever have.

If deceiving the eye were the only business of the art... the minute painter would be more apt to succeed. But it is not the eye, it is the mind which the painter of genius desires to address.

Every art, like our own, has in its composition fluctuating as well as fixed principles. It is an attentive inquiry into their difference that will enable us to determine how far we are influenced by custom and habit, and what is fixed in the nature of things.

Common observation and a plain understanding is the source of all art.

A passion for his art, and an eager desire to excel, will more than supply an artist with the place of method.

While I recommend studying the art from artists, Nature is and must be the fountain which alone is inexhaustible, and from which all excellences must originally flow.

The first degree of proficiency is, in painting, what grammar is in literature, a general preparation for whatever the student may afterward choose for more particular application. The power of drawing, modeling, and using colors, is very properly called the language of the art.

Gardening as far as Gardening is Art, or entitled to that appellation, is a deviation from nature; for if the true taste consists, as many hold, in banishing every appearance of Art, or any traces of the footsteps of man, it would then be no longer a Garden.

The value and rank of every art is in proportion to the mental labor employed in it, or the mental pleasure in producing it.

No art can be grafted with success on another art. For though they all profess the same origin, and to proceed from the same stock, yet each has its own peculiar modes both of imitating nature and of deviating from it... The deviation, more especially, will not bear transplantation to another soil.

The art of seeing nature, or, in other words, the art of using models, is in reality the great object, the point to which all our studies are directed.