Andrew Wyeth Quotes
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There's a quote from Hamlet that is my guide... He tells the players not to exaggerate but to hold a mirror up to nature. Don't overdo it, don't underdo it. Do it just on the line.
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I don't think that there is anything that is really magical unless it has a terrifying quality.
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The most irritating experience for an artist is to have his work criticized before it is finished.
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You think you're developing and getting better and then you see something you did years ago. Looking at your early work.. sometimes it has a depth that surprises you.
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I don't really have studios. I wander around - around people's attics, out in fields, in cellars, anyplace I find that invites me.
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With watercolour, you can pick up the atmosphere, the temperature, the sound of snow shifting through the trees or over the ice of a small pond or against a windowpane. Watercolour perfectly expresses the free side of my nature.
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I'm not at all interested in painting the object just as it is in nature. Certainly I'm much more interested in the mood of a thing than the truth of a thing.
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When you lose your simplicity, you lose your drama.
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My aim is not to exhibit craft, but rather to submerge it, and make it rightfully the handmaiden of beauty, power and emotional content.
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I love to study the many things that grow below the corn stalks and bring them back to the studio to study the color. If one could only catch that true color of nature - the very thought of it drives me mad.
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If somehow I can, before I leave this earth, combine my absolutely mad freedom and excitement with truth, then I will have done something.
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I get letters from people about my work. The thing that pleases me most is that my work touches their feelings. In fact, they don't talk about the paintings. They end up telling me the story of their life or how their father died.
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To be interested solely in technique would be a very superficial thing to me.
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It's a moment that I'm after, a fleeting moment, but not a frozen moment.
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I prefer winter and fall, when you feel the bone structure of the landscape. Something waits beneath it; the whole story doesn't show.
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My pencil is like a fencer's foil.
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My struggle is to preserve that abstract flash - like something you caught out of the corner of your eye, but in the picture you can look at it directly.
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To be interested solely in technique would be a very superficial thing to me. If I have an emotion, before I die, that's deeper than any emotion that I've ever had, then I will paint a more powerful picture that will have nothing to do with just technique, but will go beyond it.
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I can't work completely out of my imagination-I must put my foot in a bit of truth-and then I can fly free.
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I dream a lot. I do more painting when I'm not painting. It's in the subconscious.
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And, of course, I began drawing so much - wild, undisciplined pencil drawings and watercolors of knights battling and such.
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If it [talent] isn’t strong enough to take the gaff of real training, then it’s not worth much.
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What you have to do is break all the rules.
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Well, being the youngest child and frail, I was left alone a great deal of the time.
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I think you have to use your eyes as well as your emotion, and one without the other just doesn't work
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My aim is to escape from the medium with which I work; to leave no residue of technical mannerisms to stand between my expression and the observer. To seek freedom through significant form and design rather than through the diversion of so-called free and accidental brush handling.
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It's all in how you arrange the thing... the careful balance of the design is the motion.
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I had whooping cough when I was very young, which left me with bronchial problems, and I would always pick up colds. I was very thin and nervous so my father and mother took me out of school and had me tutored at home.
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It's a shock for me to go through and see all those years of painting my life, which is very personal for me. It's a very difficult thing for an artist to look back at his work.
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My aim is to escape from the medium with which I work.
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