“good art means the ability of any one man to pin down in some permanent and intelligible medium a sort of idea of what he sees in Nature that nobody else sees. In other words, to make the other fellow grasp, through skilled selective care in interpretative reproduction or symbolism, some inkling of what only the artist himself could possibly see in the actual objective scene itself.”

— H.P. Lovecraft

Letter to Woodburn Harris (25 February-1 March 1929), quoted in "H.P. Lovecraft, a Life" by S.T. Joshi, p. 487
Non-Fiction, Letters

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H.P. Lovecraft 203

American author 1890–1937

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 9
Conversation with Karen Wilkin' (1986-1988)

“Everyone sees for himself, the artist also sees for himself. Others see where ideas coincide, or whether they agree or disagree. There is no binding, no forcing of things. It has to be a free association of ideas.”

S. H. Raza (1922–2016) Indian artist

Culture:S.H. Raza Comes in Full Circle

“The artist sees what others only catch a glimpse of.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

“I admit, of course, that the artist does not see nature as the vulgar do. His emotion reveals to him the inner truths that underlie appearance. But the only principle In art is to copy what one sees. Every other method is ruinous. No one can embellish Nature. It is simply and solely a question of seeing. Doubtless a mediocre man, when he copies will never produce a work of art. He looks without seeing. No matter how minutely he observes, the result will be flat and without character. But the artist's trade is not for mediocre men, and no amount of training can supply them with talent. The artist sees - he sees with his heart. He sees deep into the heart of Nature. To the artist everything in Nature is beautiful.
The vulgarian imagines that what looks to him ugly In Nature is not material for the artist. He would forbid us to represent what displeases and offends him. He makes a grave mistake. What is commonly called ugliness in Nature may become a great beauty in art.
In the realm of realities, people regard as ugly everything that is deformed and diseased and that suggests sickness, weakness and suffering. They regard as ugly everything that defies regularity, which is to them the symbol and condition of health and strength. A hump is ugly, bow-legs are ugly, misery in rags is ugly. Ugly, again, are the soul and conduct of the immoral, the vicious, the criminal man, the abnormal man who is an enemy of society; ugly is the soul of the parricide, the traitor, the unscrupulous slave of ambition. And it is right that the lives and the of which we can expect only evil should be given an odious epithet.”

Auguste Rodin (1840–1917) French sculptor

Rodin on realism, 1910

“Putting a shovel in a gallery or museum signified “this shovel has become art.” And it actually was. The action itself is art, because the artist projects himself in choosing the shovel, and especially in placing it out of context. It is art in the sense that the imprint of a hand in a cave is art, the Mona Lisa is art, a happening is art, etc. It is a problem that touches on the ethics and function of the artist: he assumes the right to have this supra-human calling that allows him to say to others, “everything that I touch with my hand is transformed into art.” The artist imposes his anguish, his vision of the world, and himself on others. The artist emasculates the observer. Maybe he thinks that the latter deserves no better… The artist assumes the right to show you what you can see for yourself, what you could obviously see much more clearly without his intervention. I contest this right.”

Daniel Buren (1938) sculptor from France

Source: Art is no longer justifiable or setting the record straight, 2000, p. 66-67

“It is harder to see than it is to express. The whole value of art rests in the artist's ability to see well into what is before him.”

Robert Henri (1865–1929) American painter

citation needed

“An artist produces an effect in virtue of the distinctness with which he sees the objects he represents, seeing them not vaguely as in vanishing apparitions, but steadily, and in their most characteristic relations. To this Vision he adds artistic skill with which to make us see.”

George Henry Lewes (1817–1878) British philosopher

The Principles of Success in Literature (1865)
Context: An artist produces an effect in virtue of the distinctness with which he sees the objects he represents, seeing them not vaguely as in vanishing apparitions, but steadily, and in their most characteristic relations. To this Vision he adds artistic skill with which to make us see. He may have clear conceptions, yet fail to make them clear to us: in this case he has imagination, but is not an artist. Without clear Vision no skill can avail. Imperfect Vision necessitates imperfect representation; words take the place of ideas.

“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.”

Joshua Reynolds (1723–1792) English painter, specialising in portraits

Discourse no. 12; vol. 2, p. 104.
Discourses on Art

“I wish to guard the Principle of Vision from certain misconceptions which might arise on a simple statement of it. The principle insists on the artist assuring himself that he distinctly sees what he attempts to represent. What he sees, and how he represents it, depend on other principles. To make even this principle of Vision thoroughly intelligible in its application to all forms of Literature and Art, it must be considered in connection with the two other principles — Sincerity and Beauty, which are involved in all successful works.”

George Henry Lewes (1817–1878) British philosopher

The Principles of Success in Literature (1865)

“I paint what I see in America, in other words I paint the American scene.”

Stuart Davis (1892–1964) American painter

Cited in: Ian Chilvers, "Davis, Stuart," in: The Oxford Dictionary of Art, (2994). p. 195

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H.P. Lovecraft 203

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