Paint the flying spirit of the bird rather than its feathers.
Robert HenriRead
Know what the old masters did. Know how they composed their pictures, but do not fall into the conventions they established. These conventions were right for them, and they are wonderful. They made their language. You make yours. All the past can help you.
Interpretation
The quote emphasizes the importance of learning from past masters while encouraging individual creativity.
In this quote, Robert Henri advocates for artists to study the techniques and styles of previous masters in order to learn and grow. However, he also stresses the significance of developing one's unique voice and approach, suggesting that while conventions can provide a solid foundation, true artistry comes from personal expression and innovation beyond established norms.
In practice
In an art class, when discussing the importance of style, a teacher might quote this to inspire students.
Paint the flying spirit of the bird rather than its feathers.
The sketch hunter moves through life as he finds it, not passing negligently the things he loves, but stopping to know them, and to note them down in the shorthand of his sketchbook.
You form a society: that limits you. Adopt a name, and you've limited yourself again; draw up a constitution and bylaws and you've made a groove, a rut, that hampers your growth. You think you can fix your course and move straight along it. But sometimes the important thing is to strike out sidewise.
After all, the goal is not making art. It is living a life. Those who live their lives will leave the stuff that is really art.
Do not let the fact that things are not made for you, that conditions are not as they should be stop you. Go on anyway. Everything depends on those who go on anyway.
Drawing is not following a line on the model, it is drawing your sense of the thing.
On the stage, the characters express themselves more through words than images. So the arguments of the characters and the tension between characters - words have to be used to express that, and I love that about theater.
It is only after years of preparation that the young artist should touch color - not color used descriptively, that is, but as a means of personal expression.
The pointes for girls, I always say, have to be like an elephant's trunk; strong and yet flexible and soft.
No matter where I am working, I cannot make a film without 100% creative control and final cut. If there is such a guarantee, I can work anywhere.
Art cannot change the world, but it can contribute to changing the consciousness and drives of the men and women who could change the world.
The stuff I'm passionate about is what I write; it isn't multi-million-dollar franchise movies.
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