…He who despises painting loves neither philosophy nor nature. If you despise painting, which is the sole imitator of all the visible works of nature, you certainly will be despising a subtle invention which brings philosophy and subtle speculation to bear on the nature of all forms—sea and land, plants and animals, grasses and flowers, which are enveloped in shade and light. Truly painting is a science, the true-born child of nature, for painting is born of nature, but to be more correct we should call it the grandchild of nature; since all visible things were brought forth by nature and these her children have given birth to painting. Therefore we may justly speak of it as the grandchild of nature and as related to God.
…We by our art may be called the grandchildren of God.
…In order that the well-being of the body may not sap that of the mind the painter or draughtsman ought to remain solitary, and especially when intent on those studies and reflections of things which continually appear before his eyes and furnish material to be well kept in the memory. While you are alone you are entirely your own; and if you have but one companion you are but half your own, or even less in proportion to the indiscretion of his conduct. And if you have more companions you will fall deeper into the same trouble. If you should say, ‘I will go my own way, I will withdraw apart the better to study the forms of natural objects’, I tell you that this will work badly because you cannot help often lending an ear to their chatter; and not being able to serve two masters you will badly fill the part of a companion, and carry out your studies of art even worse. And if you say, ‘I will withdraw so far that their words shall not reach me nor disturb me’, I can tell you that you will be thought mad; but bear in mind that by doing this you will at least be alone; and if you must have companionship find it in your study. . . . This may assist you to obtain advantages which result from different methods. All other company may be very mischievous to you.
…The mind of a painter should be like a mirror, which always takes the colour of the object it reflects and is filled by the images of as many objects as are in front of it. Therefore you must know that you cannot be a good painter unless you are universal master to represent by your art every kind of form produced by nature. And this you will not know how to do unless you see them and retain them in your mind.
…I say and insist that drawing in company is much better than alone, for many reasons. The first is that you would be ashamed of being seen among a number of draughtsmen if you are weak, and this feeling of shame will lead you to good study; secondly a wholesome envy will stimulate you to join the number of those who are more praised than you are, for the praise of others will spur you on; yet another is that you can learn from the drawings of those who do better than yourself; and if you are better than the others, you can profit by your contempt for their defects, and the praise of others will incite you to further efforts.
…The painter who draws by practice and judgement of the eye without the use of reason is like a mirror which copies everything placed in front of it without knowledge of the same.
Those who are enamoured of practice without science are like the pilot who gets into a ship without rudder or compass and who never has any certainty where he is going. Practice should always be based on sound theory, of which perspective is the guide and gateway, and without it nothing can be done well in any kind of painting.
— Leonardo da Vinci, Notebooks
…We by our art may be called the grandchildren of God.
…In order that the well-being of the body may not sap that of the mind the painter or draughtsman ought to remain solitary, and especially when intent on those studies and reflections of things which continually appear before his eyes and furnish material to be well kept in the memory. While you are alone you are entirely your own; and if you have but one companion you are but half your own, or even less in proportion to the indiscretion of his conduct. And if you have more companions you will fall deeper into the same trouble. If you should say, ‘I will go my own way, I will withdraw apart the better to study the forms of natural objects’, I tell you that this will work badly because you cannot help often lending an ear to their chatter; and not being able to serve two masters you will badly fill the part of a companion, and carry out your studies of art even worse. And if you say, ‘I will withdraw so far that their words shall not reach me nor disturb me’, I can tell you that you will be thought mad; but bear in mind that by doing this you will at least be alone; and if you must have companionship find it in your study. . . . This may assist you to obtain advantages which result from different methods. All other company may be very mischievous to you.
…The mind of a painter should be like a mirror, which always takes the colour of the object it reflects and is filled by the images of as many objects as are in front of it. Therefore you must know that you cannot be a good painter unless you are universal master to represent by your art every kind of form produced by nature. And this you will not know how to do unless you see them and retain them in your mind.
…I say and insist that drawing in company is much better than alone, for many reasons. The first is that you would be ashamed of being seen among a number of draughtsmen if you are weak, and this feeling of shame will lead you to good study; secondly a wholesome envy will stimulate you to join the number of those who are more praised than you are, for the praise of others will spur you on; yet another is that you can learn from the drawings of those who do better than yourself; and if you are better than the others, you can profit by your contempt for their defects, and the praise of others will incite you to further efforts.
…The painter who draws by practice and judgement of the eye without the use of reason is like a mirror which copies everything placed in front of it without knowledge of the same.
Those who are enamoured of practice without science are like the pilot who gets into a ship without rudder or compass and who never has any certainty where he is going. Practice should always be based on sound theory, of which perspective is the guide and gateway, and without it nothing can be done well in any kind of painting.
— Leonardo da Vinci, Notebooks