Thomas Eakins Quotes

A teacher can do very little for a pupil and should only be thankful if he don't hinder him, and the greater the master, mostly the less he can say.

The big artist .. . keeps a sharp eye on Nature and steals her tools.

Strain your brain more than your eye... You can copy a thing to a certain limit. Then you must use intellect.

In mathematics the complicated things are reduced to simple things. So it is in painting.

How beautiful an old woman's skin is! All those wrinkles!

Strain your brain more than your eye.

Enthusiasm for one's goal lessens the disagreeableness of working toward it.

I have never discovered that the nude could be studied in any way except the way I have adopted. All the muscles must be pointed out. To do this all the drapery must be removed.

Of course, it is well to go abroad and see the works of the old masters, but Americans... must strike out for themselves, and only by doing this will we create a great and distinctly American art.

No man, and least of all myself, could ever disentangle the feelings that animated him.

When you first commence painting everything is a muddle. Even the commonest colors seem to have the devil in them.

The brush is a more powerful and rapid tool than the point or the stump... the main thing that the brush secures is the instant grasp of the grand construction of a figure.

My honors are misunderstanding, pesecution and neglect, enhanced because unsought.

When a man paints a naked woman he gives her less than poor Nature did. I can conceive of few circumstances wherein I would have to paint a woman naked, but if I did I would not mutilate her for double the money. She is the most beautiful thing there is except a naked man, but I never saw a study of one exhibited.

I taught in the Academy from the opening of the schools until I was turned out, a period much longer than I should have permitted myself to remain there. My honors are misunderstanding, persecution and neglect, enhanced because unsought.

I once painted a concert singer and on the chestnut frame I carved the opening bars of Mendelssohn's Rest in the Lord. It was ornamental unobtrusive and to musicians I think it emphasized the expression of the face and pose of the figure.