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Ross was well-known for repeated remarks such as "let's add some cheery tiny trees" when painting.
[25]
In the majority of episodes, Ross mentions how much he enjoys cleaning his paint brush. He was fond of drying a brush soaked in odorless thinner by hitting it against the can, then against a box (during the show's early seasons) then a garbage can (on later seasons). At times, he would slam the brush into the garbage can, claiming to have "struck the bucket," and then on the easel. He would grin and even chuckle loudly as he said that he was going to "beat the Devil out of it." [26] Additionally, he used a lightly sanded palette to eliminate reflections caused by the studio lighting. [27]
Bob Ross undoubtedly accomplished considerably more during the course of the show's 31 seasons. Bob Ross amassed a legion of fans thanks to his famously laid-back demeanor, his generosity with compliments and pep talks, and his fearlessness in the face of "happy accidents." Many of these fans were content to watch him cover paintings in majestic mountains, happy trees, and babbling brooks, regardless of whether they attempted to paint anything themselves. He also pioneered a style of painting that eschewed avant-garde aesthetics in favor of the splendors of nature and the calm that comes with abandoning the rat race for a walk in the woods or a stroll by a pond on a winter evening. Given the range of Bob Ross' work, picking the finest episodes is difficult, but here are a few highlights from a remarkable and far-reaching career.
"Historically, art has been reserved for a privileged few. We have been misled into believing that Michaelangelo was required to pat your head upon birth. To be sure, we demonstrate to them that everyone can create a work of art they are pleased of. It may never hang in the Smithsonian, but it will undoubtedly be something they will proudly display in their house. That is the point." "I have never said that this is a work of investment art. When we originally began, all of the art institutions and universities around the nation attempted to discredit what we were doing. It's ironic that many of them are now writing us letters saying, 'We may not agree with your style of painting, but we admire what you're doing by enrolling literally thousands of students in art institutions.'"
