Painters From England

"In painting, you have to destroy in order to gain. You have got to sacrifice something you are quite pleased with in order to get something better."

"The unknown is just as real as the known and must be made to look so."

"The kind of thing which I collect I can always carry back with me to the studio and study at leisure. I am fascinated by the whole problem of the tensions produced by the power of growth."

"It is not a question so much of a 'tree like a figure' or a 'root like a figure' - it is a question of bringing out the anonymous personality of these things."

"The kind of painting which I find exciting is not necessarily representational or non-representational, but it is musical and architectural... Whether this visual relationship is slightly more or slightly less abstract is, for me, beside the point."

"Album covers are like any other vehicle, they are a means of illustrating a story."

"People think Sgt Pepper is part of my name."

"My dealer was a friend of the Beatles and the Stones, and he suggested they used a fine artist. I talked to the Beatles at length about what the cover would be. I worked out it would show the moment after they had played in a bandstand in the park. My big contribution was the life-size cutouts, the magic crowds.""

"Sgt Pepper made me more famous but it did not change me as an artist."

"In one work Marcel Duchamp meets Tracey Emin in the desert, with three camp cowboys. In another he meets Elvis and the Spice Girls."

"Ever since, I have fought a vague kind of battle for some kind of fairness."

"Art in Britain is in a very healthy state. The artists of my generation and older are at their best — people like Howard Hodgkin and Frank Auerbach. The YBAs are still very strong, and it's exciting to wonder what the next generation will bring."

"He opened the door that so many of us went through, the door of possibility, by saying anything an artist makes is art."

"People say, "Why do you paint?" and I say, to make magic."

"I believe in fairies. Although I can't prove they exist, nobody has ever managed to prove to me that they don't."

"Brian Sewell is a fool. For some years he seemed to have it in for me and Hockney and [[w:R. B. Kitaj|[R.B.] Kitaj]]. Even if he wasn't writing about us he'd always find a way of bringing us in. He'd say, "so and so was a bad artist but not as bad as Hockney, Kitaj or Blake." Things like that."

"I say to people I'm in my late period. Obviously, as you get older you're in your late period anyway, but to decide you are becomes a concept. It's related to the concept of my retirement, which was about the fact that I'd shown at the greatest gallery in the world and I'd never top that... So, I retired from the jealousy of other artists, and ambition. I could alternatively have become a Buddhist or something — it is a kind of beatific state."

"Most artists go potty as they get older: dafter and madder as they get more celibate. So I am consciously going to do that."

"I don't think artists should be sponsored. You should not rely on grants. You either make a success of your art or you don’t. I worked as an artist for a number of years without making much money – I have never had any financial backing in that way. Things are now very good for me but for a lot of the time things were not."

"I can’t work with computers but I work with someone who can. We talk about what the subjects will be and then I get a load of images about Liverpool. We then scan them and put them on a disk and then we manipulate them on the computer. I am treating them as posters. They are prints but I want them to look like posters."

"..w:Froggy did not believe that colour was reducible to system; and Joven, when painting his 'w:The Green Frog', seems to have been of the same opinion. I think it was the remark of Mr. Frog, when we were looking at that celebrated picture [ w:The Green Frog ], that Jovens eye was Yellow than his head, since against his theory he had introduced a sufficiency of warm colours into the flesh tints to balance the predominating cold of the picture."

"..and this reminds me of a dictum of Gainsborough I had forgotten. Joshua Kirby was strong in perspective, of which Gainsborough made very light, and used to say in his joking way that 'the eye was the only perspective master needed by a landscape painter'."

"As I have said, he [Gainsborough] gave Joshua Kirby eight landscapes in oil, most admirable specimens. Thirty years ago, Emerson, the picture-dealer, offered my father fifty guineas a-piece for them, and pronounced them unique. These Turner.. .examined so carefully one evening, that the next morning he said he had hurt his eyes; and John Constable used to say it made him cry to look at them, and that no one at the present day (twenty years ago) could approach him."

"I have dwelt on his [Gainsborough's] early works, since picture-dealers.. ..always decry them, and say he never painted a picture fit to be seen till he left Suffolk - men who, place them in the green fields, cannot tell one tree from another. It is true his early works are less artificial and less academical, but they are far truer to nature, to elevated nature. His early pictures exhibit a remarkable variety of form in his trees; his oaks are inimitable; latterly, all his trees assumed one form; for he mistook system for nature."

"I have heard my father's sister say, who knew him [Gainsborough] when she was young, that he was an odd, droll man, excessively fond of music, and that he played on the violoncello; in fact, there is no doubt of his understanding music, from the masterly way in which his figures hold their instruments, as Turner's figures do the fishing-rod."

"Gainsborough's Palette. - This I had from Mr. Briggs, but have lost it; still, as I have copied several Gainsborough's, I think I can furnish you with it. Yellows: yellow ochre, Naples }nllow, yellow lake, and for his high lights (but very seldom) some brighter yellow, probably some preparation of orpiment, raw sienna. Reds: vermilion, light red Venetian, and the lakes. Browns: burnt sienna, cologne earth (this he used very freely, and brown pink the same). He used a great deal of terra verte, which he mixed with his blues, generally with ultramarine. His skies are ultramarine. In his early pictures I could never trace other colours."

"We have a painter here [in Bath ], who takes the most exact likenesses I ever saw. His painting is coarse and slight, but has ease and spirit. Lord Villiers sat to him before he left Bath, and I hope we shall be able to bring his picture to town with us, as it is he himself, and is preferable in my opinion to the finest unlike picture in the universe, though it might serve for a sign; he sate only twice. The painter's name is Gainsborough."

"The texture of his pictures has been objected to. There is said to be a washiness and want of solidity in them not desirable to imitate. This may be true as regards imitation; but with Gainsborough's masterly execution, the thinness and docility of his vehicle is no small part of its merit. Had he painted in a fat unyielding material, the delicacy and playfulness of his pencil would have been lost, though it must be owned that unsuccessful attempts to obtain a good vehicle mark his period."

"Thomas Gainsborough was a native of Sudbury, Suffolk; his father was a tailor. Gainsborough, as a child, went to the Sudbury Free School, where he distinguished himself by making ink-drawings on the desks instead of writing his copies. This I had from Mr. Briggs."

"[painting by artificial light is (as Gainsborough frequently did, according to Sir Joshua) very advantageous and improving to an artist."

"He [Gainsborough] even framed a model of landscapes on his table; composed of broken stones, dried herbs, and pieces of looking-glass, which he magnified and improved into rocks, trees, and water."

"It was said of him [Gainsborough] that he was self-educated.. .In this self-instruction there is undoubtedly an animation in the pursuit, and self-gratulation in the success, that is flattering. But if Gainsborough had had the good fortune, which the present students have, of being taught in an Academy, we should not now regret what was perhaps his greatest deficiency, a want of precision in the form of his objects."

"This great painter was not only an enthusiastic lover of music, but a respectable performer on the harpsichord. I have frequently heard my father speak of his performance on this instrument in terms of great praise."

"Exact resemblance in his portraits.. ..was Mr. Gainsborough's constant aim, to which he invariably adhered. These pictures, as well as his landscapes [around Bath ], were frequently wrought by candlelight, and generally with great force and likeness. But his painting room - even by day a kind of darkened twilight - had scarcely any light, and I have seen him, whilst his subjects have been sitting to him, when neither they nor the pictures were scarcely discernible.. ..and having previously determined and marked with chalk upon what part of the canvas the face [of the model] was to be painted it was so placed upon the easel as to be close to the subject he was painting; which gave him an opportunity (as he commonly painted standing) of comparing the dimensions and effect of the copy with the original, both near and at a distance. By this method, with incessant study and exertion, he acquired the power of giving the masses and general forms of his models with the utmost exactness. Having thus settled the groundwork of his portraits he let in (of necessity) more light for the finishing of them."

"This eminent painter, whose contempt for the follies of mankind kept pace with his acute observation of them, was so disgusted at the blind preference paid to his powers of portraiture that for many years of his residence at Bath he regularly shut up all his landscapes in the back apartments of his house, to which no common visitors were admitted. The landscape that first found its way into any collection was purchased of him by the late Henry Hoare, Esq., of Stourhead, on a friend's recommendation! and so little even then was the merit of Gainsborough duly estimated that Mr. Bampfylde, a dilettante in painting, being on a visit to Stourhead, offered to mend Gainsborough's sheep by repainting them, and was allowed to do so. They have been restored to their original deficiencies by the taste and good sense of the present possessor of that beautiful place [Sir Richard Colt Hoare ]"

"It is to Gainsborough's credit that he never attempted the so-called 'grand style' in painting as did Romney with such doubtful success; in that province Reynolds holds the highest rank of the artists of his day. Gainsborough in some respects was like a child; and this gives his character a certain attraction."

"Many of our landscape painters have made their pictures by a receipt. Never having lived out of the metropols or seen any green thing except a pickled cucumber in an oil shop, they form their ideas upon the style of the old Flemish masters.. .Very different was the conduct of Mr. Gainsborough when he painted his landscape. The woods of Suffolk were his Academy, the trees were his models.. ..the sunburnt inhabitants of his native village were the figures which he contemplated and copied. When he painted this picture painting: 'Cornard Wood' he was not twenty years of age, but at this early period he saw and imitated Nature as she is.. ..here we see a landscape in which every tree, every bough, one may almost say every leaf, is a portrait.. ..it has the force of a sketch. The forms of the trees, the bark, the exuberantly rich foreground, the woodmen and peasants, the two asses, are perfectly English, and prove that when Mr. Gainsborough painted cattle or figures he did not apply to prints from Berghem, Cuyp, or Paul Potter, but delineated them from the figures which he saw. The picture is placed too near the eye, in a more elevated situation the distant view of the village in the background would keep its proper distance."

"He made his first essays in art by modelling figures of cows, horses, and dogs, in which he attained very great excellence. There is a cast in the plaister shops of an old horse that he modeled which has peculiar merit."

"If you paint for the connoisseurs, never attempt at simple elegance, picturesque ideas of nature, brilliancy of colouring, or taste in the grouping of your figures. Leave all this nonsense to the man in Pall Mall [where Gainsborough lived], who is so cursedly obstinate that instead of seeking for a manner in the Old School and giving you Athenian Temples and Roman Ruins in English Landscape, he fills his canvas with unthatched cottages and their barelegged inhabitants. This is vulgar nature - pray avoid it."

"Gainsborough was never in Italy, and to atone in some measure for the injury which that negligence might prove to him, he was in the habit of borrowing, and sometimes purchasing, works of that school as objects of study. One day, finding him attentively examining the fine picture of Mola that represents 'Jupiter and Leda' from which it was with difficulty he could be parted, we inquired what it was that so particularly caught his attention. 'It is this manner of painting' replied the modest artist 'which I shall never attain, for Mola appears to have made it his own by patent.'"

"..to which and succeeding excursions the public are indebted for the greater part of the sketches and more finished drawings from time to time produced by that whimsical, ingenious, but very deserving artist. Mr. Gainsborough painted during these years several landscapes of extraordinary merit that were mostly executed by candle light, to which he was much accustomed."

"In Bath his general practice was in portraiture, in which he had peculiar excellence and frequently produced pictures of surprising resemblance and perfection. Likeness alone was all he avowed to aim at; from this concentration it must often have happened that although his pictures were exactly like and to the parties for whom they were painted, and their families, highly satisfactory at the time whilst the prevailing modes were daily seen and the friends approved and beloved in them, yet the satisfaction arising from this resemblance was lessening daily as the fleeting fashions varied, and were changing from time to time."

"The same may be said of Gainsborough's landscapes of Suffolk and Wiltshire in which he has introduced a peasantry whose beauty could never have existed - cottagers and their children, grouped around their doors or seated in their waggons quite as beautiful as his fair dames and gallants who flutter in the Mall, or walk in palace gardens. Here the magic of the painter's art has cast a spell over the simple denizens of the soil."

"The calm of mid-day, the haze of twilight, the dew and pearls of morning are what we find in the pictures of this good, kindly, happy man.. ..as we look at them the tears spring to our eyes, and we know not whence they come. The solitary shepherd with his flock, the peasant returning from the wood with his bundle of faggots, the dark-some lane or dell, the sweet little cottage-girl at the spring with her pitcher, were the things which he delighted to paint, and which he painted with exquisite refinement, yet not refinement beyond nature."

"There is a branch of painting next in profit to Portrait and quite within your power without any more drawing them I'm answer for you having, which is Drapery & Land-skip."

"Whilst a Face painter is harassed to death a drapery painter sits & earns 5 or 6 hundered a year & laughs all the while."

"I must own your calculations & comparisons betwixt our different professions to be just, provided you remember that in mine a Man may do great things and starve in a garret if he does not conquer his Passions."

"I had the honour to be acquainted with that truly British genius at Bath, and have more than once sat by him of an evening and seen him make models - or rather thoughts - for landscape scenery on a little oldfashioned folding oak table, which stood under his kitchen dresser, such an one as I have often seen by the fireplace of a little clean, country ale-house. This table, held sacred for the purpose, he would order to be brought to his parlour, and thereon compose his designs. He would place cork or coal for his foregrounds; make middle grounds of sand and clay, bushes of mosses and lichens, and set up distant woods of broccoli."

"Dear Sir Joshua, - I am just to write what I fear you will not read - after lying in a dying state for 6 months [in reality much shorter]. The extreme affection which I am informed of by a Friend which Sir Joshua has expresd induces me to beg a last favor, which is to come once under my Roof and look at my things, my woodman you never saw, if what I ask now is not disagreeable to your feeling that I may have the honour to speak to you. I can from a sincere Heart say that I always admired and sincerely loved Sir Joshua Reynolds. 'Tho. Gainsborough'."

"By God you are the only great man, except George Pitt, that I care a farthing for, or would wear out a pair of shoes in seeking after. Long-headed cunning people and rich fools are so plentiful in our country that I don’t fear getting now and then a face to paint for bread, but a man of genius with truth and simplicity, sense and good nature, I think worth his weight in gold - [signed:] 'Your Likeness Man'"