“It is the subjects which might be imitated by pieces of paper of varying depth of color laid one over the other, which are the subjects that will give more readily the greater satisfaction.”

—  Alfred Horsley Hinton

Source: Part II : Practical Pictorial Photography, Some examples in composition, p. 60

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "It is the subjects which might be imitated by pieces of paper of varying depth of color laid one over the other, which …" by Alfred Horsley Hinton?
Alfred Horsley Hinton photo
Alfred Horsley Hinton 64
British photographer 1863–1908

Related quotes

Pierre Bonnard photo

“The principal subject is the surface, which has its color, its laws over and above those of object.”

Pierre Bonnard (1867–1947) French painter and printmaker

“But with today's mammoth papers the poor boobs have to write at ten times the length their subject is worth, and apart from over-padded news we have the curse of modern journalism, the proliferation of the commentary, the background exposition, the in-depth analysis, the "think-piece", all adding up to an indigestible stream of crap which no one wants to read, and no one, to judge by the mechanical repetition and weary rambling, wants to write either.”

George MacDonald Fraser (1925–2008) English-born author of Scottish descent

Dumbing Down, Down, Down... p. 253-254.
The Light's On At Signpost (2002)

Simone Weil photo

“The might which kills outright is an elementary and coarse form of might. How much more varied in its devices; how much more astonishing in its effects is that other which does not kill; or which delays killing.”

Simone Weil (1909–1943) French philosopher, Christian mystic, and social activist

La force qui tue est une forme sommaire, grossière de la force. Combien plus variée en ses procédés, combien plus surprenante en ses effets, est l'autre force, celle qui ne tue pas; c'est-à-dire celle qui ne tue pas encore.
in The Simone Weil Reader, p. 155
Simone Weil : An Anthology (1986), The Iliad or The Poem of Force (1940-1941)

Claude Monet photo

“For me, a landscape does not exist in its own right, since its appearance changes at every moment; but the surrounding atmosphere brings it to life - the air and the light which vary continually. For me, it is only the, surrounding atmosphere which gives subjects their true value.”

Claude Monet (1840–1926) French impressionist painter

Claude Monet, 1891; as cited in: National Gallery of Australia, ‎Michael Lloyd, ‎Michael Desmond (1992), European and American paintings and sculptures 1870-1970 in the Australian National Gallery, p. 75
1890 - 1900

Ellsworth Kelly photo

“In my painting, negative space is never arbitrary. (I believe lithographs to be colored marks printed on a ground – the paper and the measure of the ground and the marks are to be considered of equal importance). In my painting, the painting is the subject rather than the subject the painting.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. unknown : 'Notes from 1969'

Hendrik Werkman photo

“The subject reports itself, it is never looked for. Afterwards a small drawing will follow for the color-planes which are determined immediately. These colors will be printed by large logs and updated and enlivened with the hand-roller. For pressing I use an old hand-press with lever (from c. 1800)... Sometimes it is necessary to press heavily, other times only very light. Sometimes one half of the block is rolled in [with ink] bold, the other half only skimpy. By first printing sometimes the first layer of paint on a piece of paper, a gentle tint appears which is then printed on the original. Another time I print the first print of the paper back on the original... As soon as the color-planes have been applied, the first state is reached, so to say..
.. Of course all kinds of side-steps can be made, while working. In case of enlivening the picture - both in terms of color or decoration - the main goal I always keep in mind.”

Hendrik Werkman (1882–1945) Dutch artist

version in original Dutch (origineel citaat van Hendrik Werkman, in het Nederlands): Het onderwerp meldt zichzelf en wordt nooit gezocht, daarna volgt een kleine tekening voor de kleurvlakken die meteen vaststaan. Deze kleuren worden met groote houtblokken gedrukt en met de handrol bijgewerkt en verlevendigt. Als pers gebruik ik een oude handpers met hefboom (c. 1800).. .Soms is het noodig zwaar te drukken, soms heel licht; soms wordt de ene helft van het blok vet ingerold [met inkt], de andere helft schraal, ook wordt door eerst op een stuk papier de eerste laag verf af te drukken een lichte tint gekregen die dan op het origineel afgedrukt wordt, een andere keer druk ik de eerste druk van het papier weer op het origineel af.. Zijn de kleurvlakken aangebracht, dan is als het ware de eerste staat bereikt..
.Het spreekt vanzelf dat onder het werk verschillende zijsprongetjes gemaakt kunnen worden. Ter verlevendiging, zowel wat kleur als wat versiering aangaat: het hoofddoel staat steeds voor oogen.
Quote from Werkman's letter (6.) to August Henkels, 24 Jan. 1941; as cited in H. N. Werkman - Leven & Werk - 1882-1945, ed. A. de Vries, J. van der Spek, D. Sijens, M. Jansen; WBooks, Groninger Museum / Stichting Werkman, 2015 (transl: Fons Heijnsbroek), p. 134
1940's

“Facet analysis results in more varied, multidimensional relationships, at least in theory, better reflecting the complexity of subject knowledge”

Brian Campbell Vickery (1918–2009) British information theorist

Vickery (1960, p. 13) as cited in: Steven Blake Shubert (1996) Subject Access to Museum Objects p. 429.

Washington Allston photo

“Titian, Tintoretto, and Paul Veronese absolutely enchanted me, for they took away all sense of subject. … It was the poetry of color which I felt, procreative in its nature, giving birth to a thousand things which the eye cannot see, and distinct from their cause.”

Washington Allston (1779–1843) American artist

Washington Allston, as quoted in The Quotable Artist (2002) by Peggy Hadden, p. 20

Lloyd Kenyon, 1st Baron Kenyon photo

“The power of free discussion is the right of every subject of this country. It is a right to the fair exercise of which we are indebted more than to any other that was ever claimed by Englishmen. All the blessings we at present enjoy might be ascribed to it.”

Lloyd Kenyon, 1st Baron Kenyon (1732–1802) British Baron

King v. Reeves (1796), Peake's Nisi Prius Cases, 85.

George Bernard Shaw photo

“There is no subject on which more dangerous nonsense is talked and thought than marriage.”

George Bernard Shaw (1856–1950) Irish playwright

Preface
1900s, Getting Married (1908)
Context: There is no subject on which more dangerous nonsense is talked and thought than marriage. If the mischief stopped at talking and thinking it would be bad enough; but it goes further, into disastrous anarchical action. Because our marriage law is inhuman and unreasonable to the point of downright abomination, the bolder and more rebellious spirits form illicit unions, defiantly sending cards round to their friends announcing what they have done. Young women come to me and ask me whether I think they ought to consent to marry the man they have decided to live with; and they are perplexed and astonished when I, who am supposed (heaven knows why!) to have the most advanced views attainable on the subject, urge them on no account to compromise themselves without the security of an authentic wedding ring.

Related topics