“Every artist has thousands of bad drawings in them and the only way to get rid of them is to draw them out.”

Seeing
The Note-Books of Samuel Butler (1912), Part IX - A Painter's Views on Painting

Section 1 : Of The Different Species of Philosophy
An Enquiry Concerning Human Understanding (1748)
Context: Nature has pointed out a mixed kind of life as most suitable to the human race, and secretly admonished them to allow none of these biases to draw too much, so as to incapacitate them for other occupations and entertainments. Indulge your passion for science, says she, but let your science be human, and such as may have a direct reference to action and society. Abstruse thought and profound researches I prohibit, and will severely punish, by the pensive melancholy which they introduce, by the endless uncertainty in which they involve you, and by the cold reception which your pretended discoveries shall meet with, when communicated. Be a philosopher; but, amidst all your philosophy, be still a man.

ii, line 7
Silvae, Book I

Quote of Degas, in his talk with the visiting Mallarmé, 1880's; as cited in Berthe Morisot, the first lady of Impressionism, by Margaret Sehnan; Sutton Publishing (ISBN 0 7509 2339 3), 1996, p. 234
1876 - 1895

No Cross, No Crown (1682)

Source: The Moral Judgment of the Child (1932), Ch. 2 : Adult Constraint and Moral Realism <!-- p. 185 -->
Context: To perceive is to construct intellectually, and if the child draws things as he conceives them, it is certainly because he cannot perceive them without conceiving them. But to give up gradually the spurious absolutes situated away and apart from the context of relations that has been built up during experience itself is the work of a superior kind of rationality. When the child comes to draw things as he sees them, it will be precisely because he has given up taking isolated objects in and for themselves and has begun to construct real systems of relations which take account of the true perspective in which things are connected.

Source: As quoted in Meredith L. Clausen, "The Pan Am Building and the Shattering of the Modernist Dream" http://books.google.co.uk/books?id=E6qRuyzOogIC&pg=PA275&lpg=PA275&dq=%22Unfortunately,+buildings+are+not+like+drawings.+You+can%27t+just+erase+them.%22&source=bl&ots=wkwiw7U92A&sig=4fGIk_ufWMT3wv_c6l6k8uaYMv0&hl=en&sa=X&ei=HYlHVNHNJ4Lb7Aa86oHwCA&ved=0CCcQ6AEwAQ#v=onepage&q=%22Unfortunately%2C%20buildings%20are%20not%20like%20drawings.%20You%20can%27t%20just%20erase%20them.%22&f=false, p.275

Poems (1869), A Strip of Blue (1870)
Context: Sometimes they seem like living shapes, —
The people of the sky, —
Guests in white raiment coming down
From heaven, which is close by;
I call them by familiar names,
As one by one draws nigh.

"The Bomberg Papers", An Anthology From X (Oxford University Press, 1988) p. 88.
Context: The exercise of drawing from the life brings out the individuality of the (artist) in the man. When the door has been closed on completion of an academic rendering, no matter how rendered to the resemblance of the anatomic stress and strain, it is still only saying the things you already know... it is still a lifeless drawing in the light of modern art.