Best 78 quotes of Joshua Reynolds on MyQuotes

All the gestures of children are graceful; the reign of distortion and unnatural attitudes commences with the introduction of the dancing master.

A mere copier of nature can never produce any thing great, can never raise and enlarge the conceptions, or warm the heart of the spectator.

A mere copier of nature can never produce anything great.

An artist who brings to his work a mind tolerably furnished with the general principles of art, and a taste formed upon the works of good artists – in short, who knows in what excellence consists - will, with the assistance of models... be an overmatch for the greatest painter that ever lived who should be debarred such advantages.

An eye critically nice can only be formed by observing well-colored pictures with attention.

A painter must compensate the natural deficiencies of his art. He has but one sentence to utter, but one moment to exhibit. He cannot, like the poet or historian, expatiate, and impress the mind.

A painter must not only be of necessity an imitator of the works of nature... but he must be as necessarily an imitator of the works of other painters. This appears more humiliating, but is equally true; and no man can be an artist, whatever he may suppose, upon any other terms.

A passion for his art, and an eager desire to excel, will more than supply an artist with the place of method.

A room hung with pictures is a room hung with thoughts.

Art in its perfection is not ostentatious; it lies hid and works its effect, itself unseen.

But young men have not only this frivolous ambition of being thought masters of execution, inciting them on the one hand, but also their natural sloth tempting them on the other. They are terrified at the prospect before them, of the toil required to attain exactness. The impetuosity of youth is disgusted at the slow approaches of a regular siege, and desires, from mere impatience of labour, to take the citadel by storm. They wish to find some shorter path to excellence, and hope to obtain the reward of eminence by other means, than those which the indispensable rules of art have prescribed.

By close inspection... you will discover the manner of handling the artifices of contrast, glazing, and other expedients, by which good colorists have raised the value of their tints, and by which nature has been so happily imitated.

By leaving a student to himself he may... be led to undertake matters above his strength, but the trial will at least have this advantage: it will discover to himself his own deficiencies and this discovery alone is a very considerable acquisition.

Certainly, nothing can be more simple than monotony.

Common observation and a plain understanding is the source of all art.

Could we teach taste or genius by rules, they would be no longer taste and genius.

Every art, like our own, has in its composition fluctuating as well as fixed principles. It is an attentive inquiry into their difference that will enable us to determine how far we are influenced by custom and habit, and what is fixed in the nature of things.

Excellence is never granted to man but as the reward of labor. It argues no small strength of mind to persevere in habits of industry without the pleasure of perceiving those advances, which, like the hand of a clock, whilst they make hourly approaches to their point, yet proceed so slowly as to escape observation.

Excellence is never granted to man, but as the reward of labour.

From a slight, undetermined drawing, where the ideas of the composition and character are just touched upon, the imagination supplies more than the painter himself, probably, could produce. And we accordingly often find that the finished work disappoints the expectation that was raised from the sketch.

Gardening as far as Gardening is Art, or entitled to that appellation, is a deviation from nature; for if the true taste consists, as many hold, in banishing every appearance of Art, or any traces of the footsteps of man, it would then be no longer a Garden.

Genius is supposed to be a power of producing excellences which are put of the reach of the rules of art: a power which no precepts can teach, and which no industry can acquire.

Grandeur of effect is produced by two different ways which seem entirely opposed to each other. One is by reducing the colors to little more than chiaroscuro... and the other, by making the colors very distinct and forcible... but still, the presiding principle of both those manners is simplicity.

He who resolves never to ransack any mind but his own, will be soon reduced, from mere barrenness, to the poorest of all imitations; he will be obliged to imitate himself, and to repeat what he has before often repeated.

However minutely labored the picture may be in the detail, the whole will have a false and even an unfinished appearance, at whatever distance, or in whatever light it can be shown.

I am convinced that this is the only means of advancing science, of clearing the mind from a confused heap of contradictory observations, that do but perplex and puzzle the Student, when he compares them, or misguide him if he gives himself up to their authority; but bringing them under one general head, can alone give rest and satisfaction to an inquisitive mind.

I can recommend nothing better... than that you endeavor to infuse into your works what you learn from the contemplation of the works of others.

I do not see in what manner practice alone can be sufficient for the production of correct, excellent, and finished pictures. Works deserving this character never were produced, nor ever will arise, from memory alone.

If deceiving the eye were the only business of the art... the minute painter would be more apt to succeed. But it is not the eye, it is the mind which the painter of genius desires to address.

If you have great talents, industry will improve them: if you have but moderate abilities, industry will supply their deficiency.

In portraits, the grace and, we may add, the likeness consists more in taking the general air than in observing the exact similitude of every feature.

In the practice of art... it is necessary to keep a watchful and jealous eye over ourselves; idleness, assuming the specious disguise of industry... may be employed to evade and shuffle off real labor - the real labor of thinking.

Invention strictly speaking, is little more than a new combination of those images which have been previously gathered and deposited in the memory; nothing can come from nothing.

It is but a poor eloquence which only shows that the orator can talk.

It is impossible that anything will be well understood or well done that is taken into a reluctant understanding, and executed with a servile hand.

It is to Titian we must turn our eyes to find excellence with regard to color, and light and shade, in the highest degree. He was both the first and the greatest master of this art. By a few strokes he knew how to mark the general image and character of whatever object he attempted.

It is vain for painters... to endeavour to invent without materials on which the mind may work.

I wish you to be persuaded that success in your art depends almost entirely on your own industry; but the industry which I principally recommend is not the industry of the hands, but of the mind.

Less coin, less care.

Let me recommend to you not to have too great dependence on your practice or memory, however strong those impressions may have been which are there deposited. They are forever wearing out, and will be at least obliterated, unless they are continually refreshed and repaired.

Martial music has sudden and strongly marked transitions from one note to another which that style of music requires; while in that which is intended to move the softer passions, the notes imperceptibly melt into one another.

No art can be grafted with success on another art. For though they all profess the same origin, and to proceed from the same stock, yet each has its own peculiar modes both of imitating nature and of deviating from it... The deviation, more especially, will not bear transplantation to another soil.

Nothing is denied to well-directed labor.

One inconvenience... may attend bold and arduous attempts: frequent failure may discourage. This evil, however, is not more pernicious than the slow proficiency which is the natural consequence of too easy tasks.

Our Exhibitions [The Royal Academy] have... a mischievous tendency, by seducing the Painter to an ambition of pleasing indiscriminately the mixed multitude of people who resort to them.

Our studies will be forever, in a very great degree, under the direction of chance; like travelers, we must take what we can get, and when we can get it - whether it is or is not administered to us in the most commodious manner, in the most proper place, or at the exact minute when we would wish to have it.

Perhaps blue, red, and yellow strike the mind more forcibly from there not being any great union between them, as martial music, which is intended to rouse the nobler passions.

Poetry operates by raising our curiosity, engaging the mind by degrees to take an interest in the event, keeping that event suspended, and surprising at last with an unexpected catastrophe.

Poetry operates by raising our curiosity, engaging the mind by degrees to take an interest in the event, keeping that event suspended, and surprising at last with an unexpected catastrophe. The painter's art is more confined, and has nothing that corresponds with, or perhaps is equivalent to, this power and advantage of leading the mind on, till attention is totally engaged. What is done by Painting, must be done at one blow; curiosity has received at once all the satisfaction it can ever have.

Raphael and Titian seem to have looked at Nature for different purposes; they both had the power of extending their view to the whole; but one looked only for the general effect as produced by form, the other as produced by colour.