“I believe Corot painted a tree better that any of us, but still I find him superior in his figures.”

— Edgar Degas

Degas in 1883, as quoted by Colin B. Bailey, in The Annenberg Collection: Masterpieces of Impressionism and Post-impressionism, publish. Metropolitan Museum of Art, New York, 2009, p. 4 <br class="br">note 5: 20 June 1887, - Corot’s biographer Alfred Robaut https://fr.wikipedia.org/wiki/Alfred_Robaut told this story (1905. Vol. 1. P. 336) <br class="br">1876 - 1895

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Edgar Degas67

French artist 1834–1917

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“What I like so much about Corot is that he can say everything with a bit of tree; and it was Corot himself that I found [back] in the museum of Naples – in the simplicity of the work of Pompeii and the Egyptians. These priestesses in their silver-grey tunics are just like Corot's nymphs.”

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

Source: 1880's, Renoir – his life and work, 1975, p. 164 : quote from Renoir's letter to Durand-Ruell, 1882, referring to a small painting with trees of the landscape-painter Corot

“Adieu, adieu, I am going to see up there [after death] whether friend Corot has found me any new subjects for landscape painting.”

Charles-François Daubigny (1817–1878) French painter

Quote, as recorded by Albert Wolff, 1880's, in Notes upon certain masters of the XIX century, - printed not published MDCCCLXXXVI (1886), The Art Age Press, 400 N.Y. (written after the exhibition 'Cent Chefs-d'Oeuvres: the Choice of the French Private Galleries', Petit, Paris / Baschet, New York, 1883, p. 74
Daubigny's final thought for art in 1878 was appearently strongly connected with Corot.
1860s - 1870s

“In studying the problem of the painting of Christ's figure, I found it to be the painting of the great problem of life. To me He was the bringer of light to the darkness of the world. Many of the French artists wished to find the light in Nature. I wished to find the light within the figure that I was presenting. In Christ I grasped the embodiment of the outward and the inward light.”

Fritz von Uhde (1848–1911) German artist

Context: In studying the problem of the painting of Christ's figure, I found it to be the painting of the great problem of life. To me He was the bringer of light to the darkness of the world. Many of the French artists wished to find the light in Nature. I wished to find the light within the figure that I was presenting. In Christ I grasped the embodiment of the outward and the inward light. I wished to bring things out of the darkness, as Rembrandt found all things through light.

“His name was Howard, but by the way he said it, none of us were able to figure out what his name was for the first few days. Still, I liked him, so one day I tackled him out on the playground and we started wrestling on the grass.”

Victor Villaseñor (1940) American writer

Burro Genius: A Memoir (2004)

“I knew nothing when I first met him. He taught me to see things through his eyes. Dalí was my teacher. He let me use his brushes, his paint and his canvas, so that I could play around while he was painting for hours and hours in the same studio. Surrealism was a good school for me. Listening to Dalí talk was better than going to any art school.”

Amanda Lear (1939) singer, lyricist, composer, painter, television presenter, actress, model

http://www.3d-dali.com/centennial-magazine/e-9-muse.htm, Salvador Dali Centennial Magazine – Amanda Lear, 15 June 2004, 3d-dali.com, 15 July 2018

“One has to see a painter in his own place to get an idea of his worth. I went back there [to Corot's studio, after the official exhibition] and I appreciate in a new light the paintings that I had seen in the Museum and that had struck me as middling... He told me to go a bit ahead of myself, abandoning myself to whatever might come; this is how he works most of the time... Corot delves deeply into a subject; ideas come to him and he adds while working; it's the right approach.”

Eugène Delacroix (1798–1863) French painter

Quote from entry of Delacroix's Journal, 14 March, 1847; as cited in Selected writings on Art and Artists, transl. P. E. Charvet – Cambridge University Press, Archive, 1981, p. 150, note 44
This visit of Delacroix was the beginning of an important friendship
1831 - 1863

“Vegetarians and vegans are not morally superior to everyone else. We're simply healthier, and a hell of a lot better for the environment around us. Of course, just because we're not morally superior doesn't mean we're not on the side of the angels. I believe we are. After all, we're practitioners of a diet that's better for people, better for animals, and better for the environment.”

Howard F. Lyman (1938) American activist

Source: No More Bull! (2005), Ch. 5: Message for My Meat-Eating Friends, p. 78

“You use things; the idea is, of course, to eliminate things [in making a picture]. And just as fifteen or eighteen years ago [when Guston made whole figurative series of children's pictures: 'all sort of props and so on'] I stretched out to get that, - put it in and took it out - to get that look in that's kid's eye and the way his mouth was open or wasn't - I mean a very particular kind of look - I'd do the same now. In other words, I can't find any freedom in abstract painting [but Guston did abstract painting in 1960 - till in 1967 he moved to figuration]. I'am just as stuck with locations, a few areas of colour in relation to some kind of totality that I want, as I was before. And so the problem of figuration is somehow irrelevant to me. I think some of the best painting done in New York today is figuration, but it's not recognised as such... Well I think of my pictures as a kind of figuration... I think every good painter here in New York really paints a self-portrait..”

Phillip Guston (1913–1980) American artist

Source: 1950 - 1960, Interview with David Sylvester, BBC (March 1960), pp. 92-93

“I believe that the great painters with their intellect as master have attempted to force this unwilling medium of paint and canvas into a record of their emotions. I find any digression from this large aim leads me to boredom.”

Edward Hopper (1882–1967) prominent American realist painter and printmaker

1911 - 1940, Notes on Painting - Edward Hopper (1933)

“My dear Theo, Thanks for your letter of this morning. Yesterday I saw the Corot exhibition. It included a painting of the 'Mount of Olives'; I'm glad he painted that. On the right, a group of olive trees, dark against the darkening blue sky; in the background hills covered with shrubs and a couple of tall trees, above them the evening star.... I've also seen the Louvre and the Luxembourg, as you can imagine. The Ruisdaels in the Louvre are magnificent, especially 'The bush', 'The breakwater' and 'The ray of sunlight.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

I wish you could see the small Rembrandts there, the 'Supper at Emmaus', and two pendants, 'The philosophers'. <br class="br">quote from his Letter #034 to Theo (Paris, 31 May 1875) http://vangoghletters.org/vg/letters/let034/letter.html <br class="br">1870s

“I believe Corot painted a tree better that any of us, but still I find him superior in his figures.”

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