“Lighten your palette [his remark to Cézanne circa 1873, to encourage Cézanne to use bright colors], paint only with the three primary colours and their derivatives.”

—  Camille Pissarro

As quoted in Cezanne his Life and Art, Jack Linssey, – Evelyn, Adams and Mackay, London, 1969, p. 154-55
Pissarro 'guided' the wild Cézanne for a few years in painting landscape; for a decade or so in the mid-19th century they often worked side by side and influenced each other
1870's

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "Lighten your palette [his remark to Cézanne circa 1873, to encourage Cézanne to use bright colors], paint only with the…" by Camille Pissarro?
Camille Pissarro photo
Camille Pissarro 51
French painter 1830–1903

Related quotes

Camille Pissarro photo

“Never paint except with the three primary colors [red, blue, and yellow] and their derivatives.”

Camille Pissarro (1830–1903) French painter

Attributed to Pisarro, in Philip Ball (2001() Bright Earth: Art and the Invention of Color. p. 178
Advise to his students to lightening their palette and remove colours such as black, ocher and sienna
undated quotes

Georgia O'Keeffe photo

“Later I had two green ones [alligator pears] — not so perfect. I painted them several times [c. 1920] when the men [American modernist artists, a. o. Marsden Hartley ] didn't think much of what I was doing. They were all discussing Paul Cézanne, with long involved remarks about the 'plastic quality' of his form and colour. I was an outsider. My colour and form were not acceptable. It had nothing to do with Cézanne or anything else. I didn't understand what they were talking about why one colour was better than another... Years later when I finally got to Cézanne's Mont Sainte-Victoire in the south of France, I remember sitting there thinking, 'How could they attach all those analytical remarks to anything he did with that mountain?”

Georgia O'Keeffe (1887–1986) American artist

All those entire words piled on top of that poor little mountain seemed too much.
1970 - 1986, Some Memories of Drawings (1976)

Pablo Picasso photo

“It is not what the artist does that counts. But what he is. Cézanne would never have interested me if he had lived and thought like Jaques-Emile Blanche, even if the apple he had painted had been ten times more beautiful. What interests us is the anxiety of Cézanne, the teaching of Cézanne, the anguish of Van Gogh, in short the inner drama of the man. The rest is false.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Boisgeloup, winter 1934
Richard Friedenthal, (1963, p. 259)
Quotes, 1930's, "Conversations avec Picasso," 1934–35

“.. the light suggests no particular time of day or night [in the paintings of Paul Cézanne ]; it is not appropriated from morning or afternoon, sunlight or shadow.”

Clyfford Still (1904–1980) American artist

1950s
Source: Abstract Expressionism, Davind Anfam, Thames and Hudson Ltd London, 1990; p. 145

Colin Wilson photo

“Cézanne's painting is strictly painting, and its value is immense; but Van Gogh's painting has the Outsider's characteristic: it is a laboratory refuse of a man who treated his own life as an experiment in living; it faithfully records moods and developments of vision on the manner of a Bildungsroman.”

Colin Wilson book The Outsider

Source: The Outsider (1956), p. 103

Giorgio Morandi photo

“.. my favorite artist, when I first began to paint, was actually Cézanne. Later, between 1920 – 1930, I developed a great interest in Chardin [famous for his still-life], w:Vermeer and Corot, too.... that's why you have been able to detect in my works of between 1912 – 1916 some recognizable influences of the early Paris cubists and above all, of Cézanne.”

Giorgio Morandi (1890–1964) Italian painter

Source: 1945 - 1964, Interview, 1960, p. 106

“The paradox in the evolution of French painting from Courbet to Cézanne is how it was brought to the verge of abstraction in and by its very effort to transcribe visual appearance with ever greater fidelity.”

Clement Greenberg (1909–1994) American writer and artist

"On the Role of Nature in Modernist Painting" (1949), p. 171
1960s, Art and Culture: Critical Essays, (1961)

Paul Cézanne photo

“That is why, perhaps, all of us derive Pissarro. He had the good luck to be born in the West Indies, where he learned how to draw without a teacher. He told me all about it. In 1865 he was already cutting out black, bitumen, raw sienna and the ocher's. That's a fact. Never paint with anything but the three primary colours and their derivatives, he used to say me. Yes, he was the first Impressionist.”

Paul Cézanne (1839–1906) French painter

Camille Pissarro was Cézanne's 'teacher' in impressionistic landscape painting; they frequently painted together in open air.
Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 164, in: 'What he told me – I. The motif'

Ellsworth Kelly photo

“In Europe at the beginning of the twentieth century, the Fauves – Matisse, Derain – were using bright colours in their full intensity, which continued with Kandinsky, Malevich, Kirchner, Léger and Mondrian. They employed all the colours of the spectrum. In the 1940's and 1950's the majority of the Abstract Expressionists in New York rebelled against this European use of colour and mostly used mixed colours. That is, the Abstract Expressionists did use bright colours sometimes, but they tended to paint wet-on-wet, which muddled their hues. As Matisse would say, a small patch of any one colour is far less intense than a large one of the same colour. I returned in 1954 [from Paris] to New York and showed paintings done in France at the Betty Parsons Gallery in 1956 with bright colours that wouldn’t really be used until the Pop artists in the 1960's. My idea of using colour at its full intensity, which began with Colors for a Large Wall, hasn’t changed in the 60 years that I’ve been painting.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

1981 - 2008
Source: 'Colour Chart I', interview with Christoph Grunenberg, 1 May 2009; 'Sixty years at full intensity', Tate 2009

Anu Garg photo

“A large vocabulary is like an artist having a big palette of colors. We don't have to use all the colors in a single painting, but it helps to be able to find just the right shade when we need it.”

Anu Garg (1967) Indian author

The Philomath Speaks An Interview with Anu Garg (Dec 15, 2009) http://www.nas.org/articles/The_Philomath_Speaks_An_Interview_with_Anu_Garg

Related topics