Claude Monet: Trending quotes

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Claude Monet: 174 quotes250 likes

“I see less and less... I need to avoid lateral light, which darkens my colors. Nevertheless, I always paint at the times of day most propitious for me, as long as my paint tubes and brushes are not mixed up.... I will paint almost blind, as Beethoven composed completely deaf.”

Claude Monet

Quote, Jan. 1921, to journalist Marcel Pays. Monet in the 20th Century, by Paul Hayes Tucker.
1920 - 1926

“I can no longer work outside because of the intensity of the light.”

Claude Monet

in the Summer of 1920, to Gustave Geffroy. Monet in the 20th Century, by Paul Hayes Tucker.
1920 - 1926

“I won't be here long, I am working as hard as I can, as I told you [in a letter] yesterday, I am very happy to be here Etretat, Normandy] and I hope to come up with something good, in any case I will bring lots of studies back with me so I can work on some big things at home.”

Claude Monet

Quote in Monet's letter from Etretat to his second [future] wife Alice Hoschedé, 1883; as cited in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 51
1870 - 1890

“I am distressed, almost discouraged, and fatigued to the point of slightly ill... Never have I been so unlucky with the weather. Never three suitable days in succession, so I have to be always making changes [in his paintings] for everything is growing and turning green. And I have dreamed of painting the Creuse [river in the South of France] just as we saw it... In short, by dint of changes I am following Nature without being able to grasp her, and then there is that river that shrinks, swells again, green one day, then yellow, sometimes almost dry, and which tomorrow will be a torrent, after the terrible rain that is falling at the moment. In fact, I am very worried. Write to me; I have a great need of comfort.”

Claude Monet

In his letter from Normandy to art-critic and friend Gustave Geffroy, 24 April 1889; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 129
1870 - 1890

“Though I remained insensitive to the subtleties and delicate gradations of colour.... my eyes at least did not deceive me when I drew back and looked at the subject in its broad lines, and this was the starting-point of new compositions... Slowly I tried my strength in innumerable rough sketches which convinced me... I could see as clearly as ever when it came to vivid colours isolated in a mass of dark tones. How was I to put this to use? My intentions gradually became clearer... I said to myself, as I made my sketches, that a series of general impressions, captured at the times of day when I had the best chance of seeing correctly, would not be without interest. I waited for the idea to consolidate, for the grouping and composition of the themes to settle themselves in my brain little by little, of their own accord; and the day when I felt I held enough cards to be able to try my luck with a real hope of success, I determined to pass to action, and did so.”

Claude Monet

remark by Monet – between 1900 and 1920 – on his 'Water lilies' paintings; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 132
1900 - 1920

“I am surrounded by a small group of young landscapists who will be very happy get to know you. Besides, they are real painters… I find myself very well fixed here. I am drawing figures at hard. And at the Academy, there are only landscapists. They begin to perceive that it's a good thing.”

Claude Monet

Quote of Monet, 1859 in a letter to his mentor Eugène Boudin; as cited in: John Rewald (1961) The History of Impressionism - Volume 1. p. 48
1850 - 1870

“I am in a very black mood and profoundly disgusted with painting. It really is a continual torture! Don't expect to see anything new, the little I did manage to do has been destroyed, scraped off, or torn up. You've no idea what appalling weather we've had continuously these two past months. When you're trying to convey the weather, the atmosphere and the general mood, it's enough to make you mad with rage.”

Claude Monet

Quote from Monet's letter to art-critic and his friend Gustave Geffroy, Giverny 1890; as cited in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 56
1890 - 1900

“I'm half an hour late, I'll come back tomorrow.”

Claude Monet

after Monet's death

“I was completely ignorant of the poetry of Poe; it is admirable, it is poetry itself, the dream, and how one feels that you have translated its soul! I am no more than a completely illiterate ignoramus, but am not any the less moved by it. I knew only Poe's prose, which I had read and admired very young before I had heard it spoken of, but how your poems complete and express the man he was”

Claude Monet

in his letter, 15 February 1889, (L. 911); as cited in Steven Z. Levine, ‎Claude Monet (1994), Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self. p. 93
1870 - 1890

“I hired a good carriage and had myself driven to Menton, a delightful outing of several hours. Menton is wonderful and is in a splendid setting. I walked to Cap Martin, a famous spot between Menton and Monte Carlo. I saw two motifs there that I want to paint because they are so different from things here, where the sea plays no big part in my studies, where the sea plays no big plays no big part in my studies.”

Claude Monet

in a letter to his second wife Alice Hoschedé, 1884; as cited in: Christoph Heinrich, Monet, (2000), p. 64
1870 - 1890

“There at the moment in Honfleur... Boudin and Jongkind are here; we get on marvelously. There's lots to be learned and nature begins to grow beautiful... I shall tell you I'm sending a flower picture to the exhibition at Rouen; there are very beautiful flowers at present.”

Claude Monet

in a letter to Frédéric Bazille; as cited in: Edward B. Henning, Cleveland Museum of Art. Creativity in art and science, 1860-1960. (1987), p. 95
1850 - 1870

“To me the motif itself is an insignificant factor; what I want to reproduce is what lies between the motif and me... Other painters paint a bridge, a house, a boat... I want to paint the air in which the bridge, the house and the boat are to be found - the beauty of the air around them, and that is nothing less than the impossible.”

Claude Monet

Claude Monet, in an interview, 1895; as quoted in: Paul Hayes Tucker et al. (eds). (1999) Monet in the Twentieth Century. London: Royal Academy of Arts/Boston: Museum of Fine Arts. As cited in: Steven Connor, " About There, or Thereabouts http://www.stevenconnor.com/aboutthere/aboutthere.pdf." talk given at the Catalysis conference on Space and Time, Downing College, Cambridge, 23rd March 2013. <br class="br">1890 - 1900

“Zaandam is particularly remarkable and there is enough here to paint for a life-time.”

Claude Monet

Quote of 1871, in Monet's letter to Camille Pissarro, 2 June 1871; as cited in Van Gogh Museum Journal 2001 http://www.dbnl.org/tekst/_van012200101_01/_van012200101_01_0012.php Van Gogh Museum, Amsterdam 2001. p. 140 <br class="br">1870 - 1890

“My dear Hoschedé, I do not know if in Paris it is the same weather as here, it is probable and so you will be able to understand my discouragement. I am heartbroken, and I absolutely must share with you all my disillusionment; for nearly two months, I have given myself a lot of trouble without result. You do not believe it perhaps, but it is so: I have not lost an hour and would have reproached myself to have taken even a day to come see our exhibition, just out of the fear of losing a single good painting session, an hour of sun. I alone can know my anxieties and the trouble that I give myself to finish canvases that don't even satisfy me and please so few people. In a word, I am absolutely discouraged, not seeing, not hoping in any future... I feel all too well the void that is being made around me and the impossibility of facing up to my part of our expenses if we were to continue living together... I see everything in black, in pain... Please believe all the sorrow that I have in causing you trouble.”

Claude Monet

In a letter to Ernest Hoschedé, May 15, 1879 (W, letter, 158); as cited in: Mary M. Gedo (2013) Psychoanalytic Perspectives on Art. p. 123
1870 - 1890

“It's quite beyond my powers at my age, and yet I want to succeed in expressing what I feel.”

Claude Monet

his remark in 1908; as quoted in The Private Lives of the Impressionists Sue Roe; Harper Collins Publishers, New York, 2006, p. 269
1900 - 1920

“One day Eugène Boudin said to me, '.. appreciate the sea, the light, the blue sky'. I took his advice and together we went on long outings during which I painted constantly from nature. This was how I came to understand nature and learned to love it passionately.”

Claude Monet

as quoted in Discovering Art, – The life time and work of the World’s greatest Artists, MONET; K.E. Sullivan, Brockhamptonpress, London 2004, p. 10
after Monet's death

“You know the affection I have always had for you Boudin and also the gratitude. I have never forgotten that you were the first who taught me to see and to comprehend.”

Claude Monet

Quote in a letter to Boudin, 1892; as cited in Monet and His Muse: Camille Monet in the Artist's Life, Mary Mathews Gedo; University of Chicago Press, Sept. 2010, p. 10
1890 - 1900

“The sea is superb, but the cliffs don't match up to those at Fecamp. Here I'll be certain to do more boats.”

Claude Monet

in his letter from Dieppe; as quoted in: Howard F. Isham (2004) Image of the Sea: Oceanic Consciousness in the Romantic Century. p. 336 : About his 1880s travels
1870 - 1890

“Once settled, I hope to produce masterpieces, because I like the countryside very much.”

Claude Monet

in a letter to Paul Durand-Ruel: as quoted in: Daniel Wildensteijn "Monet's Giveny" in: Monet's Years at Giverny: Beyond Impressionism http://books.google.nl/books?id=H76Nl_fNgOUC, (1978) p. 16: About the countryside in Giverny <br class="br">1870 - 1890

“My dear Pissarro, Forgive me for not answering your first letter earlier, but I 'm starting to work full steam ahead and have hardly any time. I received your second letter this morning and I see that you are going to great pains on my behalf and getting nowhere: I'm sorry to be giving you so much trouble; so drop the whole thing, and I'll ask Durand-Ruel if he could see to it for me, he might be able to get rid of these damn frames.
I see that you are definitely going to leave that delightful country for good. Where are you going to, Paris or Louveciennes? I hope you'll write and let me know…”

Claude Monet

in a letter from Zaandam, The Netherlands, to Camille Pissarro (still in England), 17 June 1871; Cited in: Marianne Alphant (1994), Claude Monet en Holland, p. 87
1870 - 1890