Neither the naked hand nor the understanding left to itself can effect much. It is by instruments and helps that the work is done, which are as much wanted for the understanding as for the hand. And as the instruments of the hand either give motion or guide it, so the instruments of the mind supply either suggestions for the understanding or cautions.
If I go to the National Gallery and I look at one of the great paintings that excite me there, it's not so much the painting that excites me as that the painting unlocks all kinds of valves of sensation within me which return me to life more violently.
I think I tend to destroy the better paintings, or those that have been better to a certain extent. I try and take them further, and they lose all their qualities, and they lose everything. I think I would say that I destroy all the better paintings.
The registering of doubts hath two excellent uses: the one, that it saveth philosophy from errors and falsehoods; when that which is not fully appearing is not collected into assertion, whereby error might draw error, but reserved in doubt: the other, that the entry of doubts are as so many
suckers or sponges to draw use of knowledge; insomuch as that which, if doubts had not preceded, a man should never have advised, but passed it over without note, by the suggestion and solicitation of doubts, is made to be attended and applied.
A picture should be a re-creation of an event rather than an illustration of an object; but there is no tension in the picture unless there is a struggle with the object.
I want to make portraits and images. I don't know how. Out of despair, I just use paint anyway. Suddenly the things you make coagulate and take on just the shape you intend. Totally accurate marks, which are outside representational marks.