“It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character... So much the better if it is painful for you to take even the first step, the more toilsome the work, the stronger you will emerge from it... I repeat, guard against facility.”

— Camille Pissarro

Quote in a letter to his son Lucien (1894); as quoted in Painting Outside the lines, Patterns of Creativity in Modern Art, David W. Galenson, Harvard University Press, 30 Jun 2009, p. 84
1890's

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Camille Pissarro 51

French painter 1830–1903

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“I recognize fully that you do not draw well, my dear Lucien [his son, also painter]. I told you any number of times that it is essential to have known forms in the eye and in the hand. It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.”

Camille Pissarro (1830–1903) French painter

In a letter, 1883, to his son Lucien; as quoted by C., & Rewald, in Camille Pissarro: Letters to his son Lucien, New York: Pantheon Books, 1943 p. 32
1880's

“Works that have a certain imperfection to them have an appeal for that you're attracted to Soseki's The Miner. There's something in it that draws you in, more than more fully realized novels like Kokoro or Sanshiro. You discover something about that work that tugs at your heart-or maybe we should say that work discovers you.”

Haruki Murakami book Kafka on the Shore

Source: Kafka on the Shore (2002), Chapter 13, Schubert

“It is very good to copy what one sees; it is much better to draw what you can't see any more but is in your memory. It is a transformation in which imagination and memory work together. You only reproduce what struck you, that is to say the necessary.”

Edgar Degas (1834–1917) French artist

C'est très bien de copier ce qu'on voit, c'est beaucoup mieux de dessiner ce que l'on ne voit plus que dans son mémoire. C'est une transformation pendant laquelle l'ingéniosité collabore avec la mémoire. Vous ne reproduisez que ce qui vous a frappé, c'est-à-dire le nécessaire.
Quoted in Maurice Sérullaz, L'univers de Degas (H. Scrépel, 1979), p. 13
quotes, undated

“Lord Jesus Christ, our foolish minds are weak; they are more than willing to be drawn—and there is so much that wants to draw us to itself. There is pleasure with its seductive power, the multiplicity with its bewildering distractions, the moment with its infatuating importance and the conceited laboriousness of busyness and the careless time-wasting of light-mindedness and the gloomy brooding of heavy-mindedness—all this will draw us away from ourselves to itself in order to deceive us. But you, who are truth, only you, our Savior and Redeemer, can truly draw a person to yourself, which you have promised to do—that you will draw all to yourself. Then may God grant that by repenting we may come to ourselves, so that you, according to your Word, can draw us to yourself—from on high, but through lowliness and abasement.”

Sören Kierkegaard (1813–1855) Danish philosopher and theologian, founder of Existentialism

Source: 1850s, Practice in Christianity (September 1850), p. 157

“.. in my ideal of a good painting; there's unity. The drawing and the colour are no longer distinct; as soon as you paint you draw; the more the colours harmonize, the more precise the drawing becomes. I know that from experience. When the colour is at its richest, the form is at its fullest.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 221 in: 'What he told me – III. The Studio'

“It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one. Usually I draw in relation to my painting, what I am working on at the time. On a lucky day a surprising balance of forms and spaces will appear and I feel the drawing making itself, the image taking hold. This in turn moves me towards painting -anxious to get to the same place, with the actuality of paint and light.”

Phillip Guston (1913–1980) American artist

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, pp. 73-75

“Because when you love something, you want to do it all the time, even if no one is paying you for it. At least that's how I felt about drawing.”

Meg Cabot book All American Girl

Source: All-American Girl

“Some auditions you get, and you feel like you already know the character. I got into her skin a little easier, and that's always a big draw. You don't have to struggle as much.”

Alisen Down (1976) Canadian actress

Source: BWW Interview: Alisen Down Chats about GRACEPOINT's Pillar of Integrity https://www.broadwayworld.com/bwwtv/article/BWW-Interview-Alisen-Down-Chats-about-GRACEPOINTs-Pillar-of-Integrity-20141118 (November 18, 2014 )

“You don’t draw, and I don’t breathe. Not so much like last year”

Cassandra Clare book City of Heavenly Fire

Source: City of Heavenly Fire

“I usually only draw myself in down periods. I do, actually. I suppose that's why I often draw myself looking grim. I just think, "Let's have a look in the mirror." When you are alone and you look in a mirror you never put on a pleasing smile. Well, you don't, do you?”

David Hockney (1937) British artist

Interview with Nigel Farndale, "The talented Mr. Hockney" http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2003/11/17/bahock17.xml The Telegraph (15 November 2001)
2000s

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Camille Pissarro 51

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