Claude Monet:
87
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J'aime
Claude Monet: Citations en anglais
“I want to paint the way a bird sings.”
Variante: I would like to paint the way a bird sings.
Source: Monet By Himself
“.. but what a pity that I did not come here [in Venice] when I was younger and more adventurous.”
Quote in Monet's letter to art-ritic and friend Gustave Geffroy, 1907; as cited in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 56
1900 - 1920
in a letter to Frédéric Bazille: as cited by K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 22
1850 - 1870
Quote in a letter to , September 1879; as cited in The Private Lives of the Impressionists Sue Roe; Harper Collins Publishers, New York, 2006, pp. 202-203; also partly cited in: Jane Kinsman, Michael Pantazzi, National Gallery of Australia. Degas: the uncontested master, National Gallery of Australia, 7 apr. 2009. p. 25
1870 - 1890
Contexte: I am absolutely sickened with and demoralized by this life, I've been leading for so long. When you get to my age, there is nothing more to look forward to. Unhappy we are, unhappy we'll stay. Each day brings its tribulations and each day difficulties arise... So I'm giving up the struggle once and for all, abandoning all hope of success... I hear my friends are preparing another exhibition this year [the Impressionists, in Paris, 1880] but I'm ruling out the possibility of participating in it, as I just don't have anything worth showing.
1850 - 1870
Contexte: My dear Frédéric Bazille, I ask myself what you can be doing in Paris during fine weather, for I suppose that it must also be very fine there. Here my dear fellow, it is is charming, and I discover every day always beautiful things. It is enough to become mad [fou], so much do I have the desire to do it all, my head is cracking. Damn it, here it is the sixteenth, put aside your cliques and your claques, and come spend a couple of weeks here, it would be the best thing that you could do, because in Paris it cannot be very easy to work.
This very day, I still have a month to stay in; furthermore my sketches are becoming finished, I have even set to work additionally [remis] on some others. In sum, I am content enough with my stay here, even though my studies are very far from what I would wish. It is decidedly frightfully difficult to make something complete in all respects, and I think that there are scarcely any but those who content themselves with the approximate. Very well, my dear fellow, I want to struggle, scrape, start over again [recommencer], because one can do what one sees and understands, and it seems to me, when I see nature, that I am going to do it all, write it all out, but them go try to do it.... when one is on the job..
All this proves that one must only think about this. It is by force of observation and reflection that one finds. So let us grind away and grind away constantly. Are you making any progress? Yes, I am sure of it, but what I am sure of is that you do not work enough and not in the right way. It is not with carefree guys like your Villa and others that you will be able to work. It would be better all alone, and yet, all alone there are plenty of things that one cannot make out. In the end all of this is terrible, and it is a rough task.
... It is frightening what I see in my head.
Variante: Everyday I discover more and more beautiful things. It’s enough to drive one mad. I have such a desire to do everything, my head is bursting with it.
“I didn't become one... As long as I can remember I've always been one.”
after Monet's death
Source: Claude Monet, Charles F. Stuckey (1985) Monet: a retrospective. p. 91
Contexte: Monet answering the question, how he had became an impressionist.
Quote in Monet's letter to art-critic and his friend Gustave Geffroy, 22 June 1890; as cited in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 129
1890 - 1900
Quote in a letter from Giverny to Gustave Geffroy, 23 November 1894; as cited in: P. Michael Doran (2001), Art Conversations with Cézanne, p. 3
1890 - 1900
2 quotes in Monet's letter to , July 15, 1864; as cited in Mary M. Gedo (2013) Psychoanalytic Perspectives on Art. p. 114-15 / p. 60
1850 - 1870
Contexte: It seems to me, when I see nature, that I see it ready made, completely written — but then, try to do it! All this proves that one must think of nothing but them [impressions]; it is by dint of observation and reflection that one makes discoveries.
Quote in Monet's letter to his art-dealers [[wBernheim-Jeune|G. and J. Berheim-Jeune], Venice, 1912; as cited in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 72
1900 - 1920
Quote in Monet's letter from Bordighera (ca. 1884); as cited in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 52
1870 - 1890
quote in a letter to Frédéric Bazille, September 25, 1869; as cited in: Bonafoux (1986, 72), cited in Michael P. Farrell (2003) Collaborative Circles: Friendship Dynamics and Creative Work. p. 42
1850 - 1870
Contexte: [Chopping wood] is harder than you think, and I'll bet that you would not split much wood... All the same, I have probably not reached the end of my troubles. Here is winter at hand, a season not very pleasant for the wretched. Then comes the Salon. Alas! I still won't be in it, for I shall have done nothing. I have a dream a picture of the bathing spot at the Grenouillere, for which I've made a few poor sketches, but it is a dream. Renoir, who has just spent two months here, also wants to do this painting.
in a letter from Bordighera to friends in Paris, Jan. 1884; as cited in: Joslyn Art Museum, Holliday T. Day, Hollister Sturges (1987), Joslyn Art Museum: Paintings and Sculpture from the European and American Collections, p. 100
1870 - 1890
in a Letter to , May 1873; as quoted by Sue Roe, The private live of the Impressionists, Harper Collins Publishers, New York, 2006, p. 120
the coming impressionists are starting to form a new artist-group, to organize an independent and concurrent exhibition, as an alternative exhibition for the official yearly (rather classical) Paris Salon
1870 - 1890
in Claude Monet par lui-meme – interview by Thiébault-Sisson / translated by Louise McGlone Jacot-Descombes; published in Le Temps newspaper, 26 November 1900
about Édouard Manet, leading artist in Impressionism then, in Paris.
1900 - 1920
Claude Monet, 1893; as quoted in: David W. Galenson (2009), Painting outside the Lines, p. 49
1890 - 1900
Quote in a letter to his art-dealer Durand-Ruel in Paris, 1884; as cited in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 51
Monet is painting then in Northern Italy then, on the edge of the Mediterranean
1870 - 1890
