John French Sloan
John French Sloan
John French Sloanwas a twentieth-century painter and etcher and one of the founders of the Ashcan school of American art. He was also a member of the group known as The Eight. He is best known for his urban genre scenes and ability to capture the essence of neighborhood life in New York City, often observed through his Chelsea studio window. Sloan has been called "the premier artist of the Ashcan School who painted the inexhaustible energy and life of...
NationalityAmerican
ProfessionArtist
Date of Birth2 August 1871
CountryUnited States of America
Consistency is the quality of a stagnant mind.
Since we have to speak well of the dead, let's knock them while they're alive.
Most art students are generous till it comes to squeezing their colour on the palette... Many pictures haven't become works of art simply because the artist tried to save a nickel's worth of colour.
Don't be afraid to borrow. The great men, the most original, borrowed from everybody.
In the work of Seurat, you can see the dots of neutral colors carrying the form and then the dots of more intense color that make the color texture. It is a totally different principle that than of the Impressionists who used broken color to imitate visual effect.
Have a special interest, a positive prejudice about some clump of trees or one particular knoll, an excitement about them can spread through the whole composition, and so fire the rest of the things that you are only mildly interested in.
Sets of lines can say something about the direction and nature of the light. They are used by great fresco painters as a sign for shade.
I always think of shade as being full of light. That is why I like to use the word shade rather than light and shadow. Shade seems to play over the thing, envelop it, better define it, while shadow seems to fall on the thing and stain the surface with darks.
Line is the most powerful device of drawing.
Many great works of art have only form, the sculpture of the thing. Color as used to signify realization by men like Titian and Rembrandt, gives greater life and tactile experience to the work.
Draw with the brush. Carve the form. Don't be carried away by subtleties of modeling and nice pigmentation at the expense of losing the form.
Atmosphere in a painting is nine-tenths fear.
The important thing is to keep on drawing when you start to paint. Never graduate from drawing.
A good drawing has immense vitality because it is explanatory. In a good drawing even its faults have become virtues.