“He [Renoir] is a subtle and brilliant draughtsman.... all these preliminary drawings [in Renoir's studio] would astonish the public who obviously imagine the 'Impressionists' work at tremendous speed. I don't believe one can go further [in making sketches as studies] than this in the study of form in a drawing. I am charmed by his 'Nude Bathers' quite as much as those by Ingres. He [Renoir] tells me that he thinks the nude is absolutely indispensable as an art form.”

— Berthe Morisot

note in Berthe's Journal, c. 11 Jan. 1886, after visiting Renoir in his studio; in 'Carnet Beige', Morisot Enchantment, Huisman; as cited in Berthe Morisot, the first lady of Impressionism, by Margaret Sehnan; Sutton Publishing (ISBN 0 7509 2339 3), 1996, p. 234
1881 - 1895

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Berthe Morisot36

painter from France 1841–1895

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“As I admired it [a red pencil and chalk drawing by Degas of a young mother, nursing her child] he showed me a whole series done from the same model and with the same sort of rhythm. He is a draughtsman of the first order; it would be interesting to show all these preparatory studies for a painting to the public, which generally imagines that the impressionists work in a very casual way. I do not think it possible to go further in the rendering of form.”

Berthe Morisot (1841–1895) painter from France

note in Berthe's Journal, Jan. 1886; as quoted in The Private Lives of the Impressionists, Sue Roe; Harper Collins Publishers, New York, 2006, pp. 262-263
Berthe visited Degas in his studio
1881 - 1895

“I insist upon 'doing it alone'. Much as I enjoyed making the trip there with Renoir as a tourist, I'd find it hard to work there together. I have always worked better alone and from my own impressions… If he Renoir knew I was about to go, Renoir would doubtless want to join me and that would be equally disastrous for both of us.”

Claude Monet (1840–1926) French impressionist painter

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

“.. he [is Kirchner, writing about himself] was especially interested in the naturally naked human being. He knowingly broke the traditional manner of the nude study and created for himself in his studio [in his Brücke-years in Berlin] a circle of young women, whom he studied in their free movement. Thousands of drawings and hundreds of paintings and studies resulted from this. A beautiful, healthy, blossoming sensuality that never turns base emanates from these works.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

Kirchner; as quoted in Ernst Ludwig Kirchner: ein Künstlerleben in Selbstzeugnissen, Andreas Gabelmann (Claire Louise Albiez, translation); Hatje Cantz Verlag, Ostfildern, Germany 2010, p. 28
undated

“Renoir is a great success on the Salon; I think he is 'launched'. All the better! It's a very hard life, being poor.”

Camille Pissarro (1830–1903) French painter

Quote in a letter to Mr. Murer, 27th May 1879, as quoted in Renoir – his life and work Francois Fosca, Book Club Associates /Thames and Hudson Ltd, London 1975, p. 129
1870's

“I've extended my hospitality to one of my friends, a former student of Gleyre's, who lacks a studio at the moment. Renoir, that's his name, is a real worker, he takes advantage of my models and helps me pay for them.”

Frédéric Bazille (1841–1870) French painter

In a letter to his parents, c. 1868; as quoted in Frédéric Bazille, Prophet of Impressionism (exhibition catalogue), Brooklyn Museum of Art, Brooklyn & Dixon Gallery, Memphis, 1992-93, p. 38
Renoir would move in with Bazille around 1868, and Bazille's letter is only one example of his charitable nature
1866 - 1870

“Don't tell me," he said. "You've got a drawing emergency. You need a nude model. Well, I'm not in the mood. You could ask Hodge.”

Cassandra Clare The Mortal Instruments

Jace to Clary, pg. 324
The Mortal Instruments, City of Bones (2007)

“At the moment I quite often go to draw with Breitner [in the streets of The Hague], a young painter who's acquainted with Rochussen as I am with Mauve. He draws very skilfully and very differently from me, and we often draw types together in the soup kitchen or the waiting room &c. He sometimes comes to my studio to look at woodcuts, and I go to see the ones he has as well.”

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

In his letter to his brother Theo, from The Hague, Monday, 13 February 1882, http://vangoghletters.org/vg/letters/let204/letter.html, from the original letter; location and translation: Van Gogh museum, Amsterdam]] <br class="br">1880s, 1882

“I can quite understand the effort he is making; it is a very good thing not to want to go on repeating oneself. But he has concentrated all his attention on line; the figures stand out against each other without any sort of relationship, and so the whole thing is meaningless. Renoir is no draughtman, and without the lovely colours he used to use so instinctively, he is incoherent.”

Camille Pissarro (1830–1903) French painter

In a letter to his son w:Lucien Pissarro, 14th May 1887, as quoted in Renoir – his life and work, Francois Fosca, Book Club Associates /Thames and Hudson Ltd, London 1975, p. 188
Pissarro's critical quote on Renoir's painting art
1880's

“I don't know why I'm here. Everything before our eyes is ridiculous. The light is wrong, the shadows are wrong. When I enter in the studio I feel like I am entering a tomb [in the studio of their common art-teacher Thoman Couture ]. I know we can't make a model undress in the street. But there are fields, and at least in the summer we could do studies of the nude in the country, since the nude appears to be the first and the last word in art.”

Edouard Manet (1832–1883) French painter

Manet's early quote in 1850, spoken to his friend Antonin Proust; as quoted in Manet, Nathalia Brodskaya, Parkstone International, 2011, ISBN 978-1-78042-029-5, p. 12
1850 - 1875

“Monet has popped up out of nowhere with a collection of magnificent canvases... With Renoir, that makes two hard-up painters I am putting up. It's quite an infirmary here.”

Frédéric Bazille (1841–1870) French painter

1866 - 1870

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