“A painter must not only be of necessity an imitator of the works of nature…but he must be as necessarily an imitator of the works of other painters: this appears more humiliating, but is equally true; and no man can be an artist, whatever he may suppose, upon any other terms.”

Discourse no. 6, delivered on December 10, 1774; vol. 1, p. 150.
Discourses on Art

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Joshua Reynolds22

English painter, specialising in portraits 1723–1792

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“The original writer is not he who refrains from imitating others, but he who can be imitated by none.”

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“The painter will produce pictures of little merit if he takes the works of others as his standard.”

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“I do not want other artists to imitate my work – they do even when I tell them not to – but only [ imitate] my example for freedom and independence from all external, decadent and corrupting influences..”

Clyfford Still (1904–1980) American artist

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Source: 'A period of Exploration', McChesney, as quoted in The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, p 35

“Fine Art then, records by idealised imitation the glorious works of good men, whilst it holds those of bad men up to our abhorrence — it gives to posterity their images, either on the tinted canvass or the sculptured marble — it imitates the beautiful effects of nature as seen in the glowing landscape or the rising storm, and perpetuates the appearance of those beauteous gems of the seasons — flowers and fruits, which, though fading whilst the painter catches their tints, yet live after decay by and through his genius.
Industrial Art, on the contrary, aims at the embellishment of the works of man, by and through that power which is given to the artist for the investigation of the beautiful in nature; and in transferring it to the loom, the printing machine, the potter's wheel, or the metal worker's mould, he reproduces nature in a new form, adapting it to his purpose by an intelligence arising out of his knowledge as an artist and as a workman. In short, the adaptation of the natural type to a new material compels him to reproduce, almost create, as well as imitate — invent as well as copy”

George Wallis

design as well as draw! <br class="br">George Wallis. " Art Education for the people. No IV. The principles of Fine Art as Applied to Industrial Purposes http://books.google.com/books?id=l55GAQAAIAAJ&pg=PA231." In: People's & Howitt's Journal: Of Literature, Art, and Popular Progress, Vol. 3. John Saunders ed. 1847, p. 231.

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“No work which is destined to become a classic can look like the classics which have preceded it. In art, as in biology, there is heredity but no identity with the ascendants. Painters inherit characteristics acquired by their forerunners; that is why no important work of art can belong to any period but its own, to the very moment of its creation. It is necessarily dated by its own appearance. The conscious will of the painter cannot intervene.”

Juan Gris (1887–1927) Spanish painter and sculptor

Quote from 'On the Possibilities of Painting,' lecture, Sociétés des études philosophiques et scientifiques pour l'examen des idées nouvelles, Sorbonne, Paris (1924-05-15), printed in the Transatlantic Review, # 16 (June 1924), pp. 482-488; trans. Douglas Cooper in Horizon, # 80 (August 1946), pp. 113-122

“A painter must not only be of necessity an imitator of the works of nature…but he must be as necessarily an imitator of the works of other painters: this appears more humiliating, but is equally true; and no man can be an artist, whatever he may suppose, upon any other terms.”

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