“This project [an Impressionist exhibition in Paris] is very much up in the air. Degas' perversity makes it almost impossible of realization; there are clashes of vanity in this little group [of impressionists] that make any understanding difficult. It seems to me that I am the only one without any pettiness of character. This makes up for my inferiority as a painter.... the truth is that our value [of woman] lies in feeling, in intuition, in our vision that is subtler than that of men, and we can accomplish a great deal provided that affectation, pedantry and sentimentalism do not come to spoil everything.”

— Berthe Morisot

Quote of Berthe Morisot, 1885; as cited in Impressionist quartet, ed. Jeffrey Meyers; publishers, Harcourt, 2005, p. 94
Edgar Degas was the organizing force of most Impressionist exhibitions; this one never took place
1881 - 1895

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Berthe Morisot 36

painter from France 1841–1895

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Camille Pissarro (1830–1903) French painter

his remark, circa 1856; as quoted in Brush and Pencil, Vol. XIII, no. 6 , article: 'Camille Pissarro' Impressionist'; by Henry G Stephens, March, 1904, p. 412-13
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“Hullo! What's this? What are these funny brown-and-olive landscapes doing in an impressionist exhibition? Brown! I ask you? Isn't it absurd for a man to go on using brown and call himself an impressionist painter?”

Frank Rutter (1876–1937) British art critic

Rutter, Frank. Art in My Time, p. 111. Rich & Cowan, London, 1933.
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“To me it seems much better to love a woman as a woman, than to make her one's idol, as many do. For my part, I am convinced that it is better to use than to abuse.”

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“Impressionism is only direct sensation. All great painters were less or more impressionists. It is mainly a question of instinct, and much simpler than Sargent thinks. But he went on to agree that impressionists had noted how strong”

Claude Monet (1840–1926) French impressionist painter

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“My only merit lies in having painted directly in front of nature, seeking to render my impressions of the most fleeting effects, and I still very much regret having caused the naming of a group whose majority had nothing impressionist about it.”

Claude Monet (1840–1926) French impressionist painter

Quote in his letter to Evan Charteris, June 21, 1926; as cited in: Levine, Steven Z. " Monet's Series: Repetition, Obsession http://www.jstor.org/discover/10.2307/778519." October (1986): 65-75.
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“If there's a locked door, I start to make up all kinds of stories about what might be behind it. I feel like it's some kind of secret, and it leads to me making up lies. But if all the doors are open, physically and metaphorically, there's only the one truth.”

Dave Eggers book The Circle

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“Because of their age — long training in human relations — for that is what feminine intuition really is — women have a special contribution to make to any group enterprise, and I feel it is up to them to contribute the kinds of awareness that few men… have incorporated through their education.”

Margaret Mead (1901–1978) American anthropologist

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“It [his participating in the 7th exhibition of the Impressionists, combined with showing his work on the official Salon] isn't exactly a joy, but as I have said, it lets me out of the revolutionary side of the business, which I'm nervous of... It's a little weakness which I hope will be forgiven me [by the other impressionists]... Delacroix used to say, quite rightly, that a painter should win as many honours as possible.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Quote of Renoir's letter to Durand-Ruel, end of Feb. 1882; as cited in Renoir – his life and work, Francois Fosca, Book Club Associates /Thames and Hudson Ltd, London 1975, p. 172
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“I've always believed the lies we use to make our fictions reveal the truth with far more honesty than any history or herstory or life story.”

Charles de Lint (1951) author

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“Today I saw an exhibition of old Japanese paintings and sculpture [in Paris]. I was seized by the great strangeness of these things. It makes our own art seem all the more conventional to me. Our art is very meager in expressing the emotions we have inside. Old Japanese art seems to have a better solution for that... We must put more weight on the fundamentals!! When I took my eyes from these pictures and began looking at the people around me, I suddenly saw that human being are more remarkable, much more striking and surprising than they have been painted. A sudden realization like that comes only at moments.”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, Paris, 1898; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 197
1898

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