The great artist is a slave to his ideals.

In art there are two principal schools between which each aspirant has to choose--one distinguished by its close adherence to nature, and the other by its strenuous efforts to get above it.

A peculiar work in any art must not be too hastily judged. New styles have to create new tastes.

Excellence in art is largely the result of attention to minutiae, and--prayer.

The language of the heart--the language which "comes from the heart" and "goes to the heart"--is always simple, always graceful, and always full of power, but no art of rhetoric can teach it. It is at once the easiest and most difficult language--difficult, since it needs a heart to speak it; easy, because its periods though rounded and full of harmony, are still unstudied.

I once asked a distinguished artist what place he gave to labor in art. "Labor," he in effect said, "is the beginning, the middle, and the end of art." Turning then to another--"And you," I inquired, "what do you consider as the great force in art?" "Love," he replied. In their two answers I found but one truth.