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.

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.

So begins a question which has of late become more and more urgent: what is the relation of aesthetics to politics?

At one of the annual conventions of the American Society for Aesthetics much confusion arose when the Society for Anesthetics met at the same time in the same hotel.

The film's dramatic requirements should always take precedence over the mere aesthetics of editing.

This required the development of a view which allowed one to integrate research with belief, thing with person, fact with aesthetics, knowledge with application of knowledge.

I like the aesthetics of the Church.

When applied to politics and taken to its extreme, kitsch is the mask of death. Fascism was all aesthetics. There was no core principle to it. There was no truth to it.

Art is an invention of aesthetics, which in turn is an invention of philosophers... What we call art is a game.

Leonardo Da Vinci combined art and science and aesthetics and engineering, that kind of unity is needed once again.

Today each composer is not only involved in aesthetics, but he's actually trying to create his own language.

Design is the method of putting form and content together. Design, just as art, has multiple definitions; there is no single definition. Design can be art. Design can be aesthetics. Design is so simple, that's why it is so complicated.

There's no particular evidence that any of the lower mammals or any of the other animals have any interest in aesthetics at all. But Homo sapiens does, always has and always will.

There's only so much you can do until you get on set and see the aesthetics of what you're dealing with. Then you see what the other players are giving to you. It's all about the transfer of energy between different actors.

The course hitherto pursued in musical aesthetics has nearly always been hampered by the false assumption that the object was not so much to inquire into what is beautiful in music as to describe the feelings which music awakens.

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.

Let architects sing of aesthetics that bring Rich clients in hordes to their knees; Just give me a home, in a great circle dome Where stresses and strains are at ease.

Buildings designed with careful attention to aesthetics arouse and enlighten their occupants and that promotes their good health.

Nothing is beautiful, only man: on this piece of naivete rests all aesthetics, it is the first truth of aesthetics. Let us immediately add its second: nothing is ugly but degenerate man - the domain of aesthetic judgment is therewith defined.

Don't talk to me about aesthetics or tradition. Talk to me about what sells and what's good right now. And what the American people like is to think the underdog still has a chance.