I trust Winsor and Newton and I paint directly upon it.

I use a retouching varnish which is made in France, Libert, and that's all the varnish I use.

There is a sort of elation about sunlight on the upper part of a house.

Maybe I am not very human - what I wanted to do was to paint sunlight on the side of a house.

In its most limited sense, modern, art would seem to concern itself only with the technical innovations of the period.

The trend in some of the contemporary movements in art, but by no means all, seems to deny this ideal and to me appears to lead to a purely decorative conception of painting.

No amount of skillful invention can replace the essential element of imagination.

My aim in painting has always been the most exact transcription possible of my most intimate impression of nature.

After all, we are not French and never can be, and any attempt to be so is to deny our inheritance and to try to impose upon ourselves a character that can be nothing but a veneer upon the surface.

If the technical innovations of the Impressionists led merely to a more accurate representation of nature, it was perhaps of not much value in enlarging their powers of expression.

The question of the value of nationality in art is perhaps unsolvable.

What I wanted to do was to paint sunlight on the side of a house.

If you could say it in words there would be no reason to paint.

If I had the energy, I would have done it all over the county.

Well, I have a very simple method of painting.

More of me comes out when I improvise.

I have tried to present my sensations in what is the most congenial and impressive form possible to me.

I trust Winsor and Newton and I paint directly upon it.

Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again become great.

I believe that the great painters with their intellect as master have attempted to force this unwilling medium of paint and canvas into a record of their emotions.

Well, I've always been interested in approaching a big city in a train, and I can't exactly describe the sensations, but they're entirely human and perhaps have nothing to do with aesthetics.

Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world.

In general it can be said that a nation's art is greatest when it most reflects the character of its people.

I find linseed oil and white lead the most satisfactory mediums.

I find in working always the disturbing intrusion of elements not a part of my most interested vision, and the inevitable obliteration and replacement of this vision by the work itself as it proceeds.

I think that zinc white has a property of scaling and cracking.

It's to paint directly on the canvas without any funny business, as it were, and I use almost pure turpentine to start with, adding oil as I go along until the medium becomes pure oil. I use as little oil as I can possibly help, and that's my method.

The only real influence I've ever had was myself.

If the picture needs varnishing later, I allow a restorer to do that, if there's any restoring necessary.

There will be, I think, an attempt to grasp again the surprise and accidents of nature and a more intimate and sympathetic study of its moods, together with a renewed wonder and humility on the part of such as are still capable of these basic reactions.

Great art is the outward expression of an inner life in the artist and this inner life will result in his personal vision of the world.

In every tyrant's heart there springs in the end this poison, that he cannot trust a friend.

Trust, but verify.

The Christian must trust in a withdrawing God.

I never trust an executive who tends to pass the buck. Nor would I want to deal with him as a customer or a supplier.

Trust yourself. Create the kind of self that you will be happy to live with all your life. Make the most of yourself by fanning the tiny, inner sparks of possibility into flames of achievement.

The Centre is very important to me; it's about trust - about truth.

There is danger from all men. The only maxim of a free government ought to be to trust no man living with power to endanger the public liberty.

Apart from a few simple principles, the sound and rhythm of English prose seem to me matters where both writers and readers should trust not so much to rules as to their ears.

Your political reputation affects how likely allies are to trust you, and what kind of deals they'll offer at the negotiating table. There's also some emotional response in there, so factions do bear grudges. Just like the real thing.

As an alcoholic, you have no appreciation for your wife or your children's feelings, but I'm making up for that now. I'm winning my children's trust back.

One of our most noble political tasks is to open up trust.

Never make your home in a place. Make a home for yourself inside your own head. You'll find what you need to furnish it - memory, friends you can trust, love of learning, and other such things. That way it will go with you wherever you journey.

The maid that loves goes out to sea upon a shattered plank, and puts her trust in miracles for safety.

You cannot do everything at once, so find people you trust to help you. And don't be afraid to say no.

I think women have an innate ability to be intuitive with people that they truly love, but they have to trust that inner voice, and I think it is there. I think we are more intuitive than men.

And trust, yes, which is important, but that is what I aim towards. Now that is difficult for some people, and with that desire to get things as good as possible, I would say that I'm probably regarded as quite prickly to work with.

No matter how old we become, we can still call them 'Holy Mother' and 'Father' and put a child-like trust in them.

What has any poet to trust more than the feel of the thing? Theory concerns him only until he picks up his pen, and it begins to concern him again as soon as he lays it down.