Paint the flying spirit of the bird rather than its feathers.
Interpretation
Focus on the essence and emotion of a subject rather than just its surface details.
This quote encourages artists and creators to capture the true spirit and energy of their subjects instead of getting lost in the minutiae. By emphasizing the 'flying spirit' of the bird, Henri suggests that the emotional and dynamic qualities of an object are far more important than its physical attributes.
In practice
In a workshop on painting, the instructor might say this quote to inspire students to express their unique perspectives.
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.
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.
To be honest, when I was writing these stories a million years ago, I never thought about movies at all one way or another. It would have seemed almost miraculous for these things to be movies someday. To me, they were just comic books that I hoped would sell so I could keep my job.
From the beginning I thought about working with the body in movement, the space between the body and clothes. I wanted the clothes to move when people moved. The clothes are also for people to dance or laugh
I like to know the places I write about. I feel like it helps me ground the novel. My novels are 'realistic novels,' but they can also be fantastical, so it's nice to have a setting that grounds them a little bit.
I never even thought about whether or not they understand what I'm doing . . . the emotional reaction is all that matters as long as there's some feeling of communication, it isn't necessary that it be understood.
There is this aura that the three-act play is the important one: it's the one that you do to win the Pulitzer. Some part of you falls for that, and then after a while, you don't fall for that.
He asked if he could recite a poem he had written that morning: 'You speak,' he said, 'the language of shooting stars, more surprising than sunrise, more brilliant than the sun, as brief as sunset. I want to follow its trail to eternity.
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