“I studied a good deal in the museum at Naples; the Pompeian paintings are extremely interesting from every aspect. So I am staying in the sun – not to paint portraits but while I am warming myself and looking hard at things I hope I will have acquired some of the grandeur and simplicity of the old masters. Raphael didn't work out-of-doors, but he studied the sunlight all the same – his frescoes are full of it. So, by looking around outside, I have finished by seeing only the broad harmonies, and am no longer preoccupied with the little details, which only extinguish the sunlight, instead of increasing its brilliance. I hope therefore, when I get back to Paris, to produce something which will be the outcome of all these general studies, and to give you the benefit of them”

— Pierre-Auguste Renoir

in a letter written during his three-weeks-stay, working with Paul Cezanne at l'Estaque, near Marseille
Source: 1880's, Renoir – his life and work, 1975, p. 169 in a letter to madame Charpentier, l'Estaque, January 1882

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Pierre-Auguste Renoir 44

French painter and sculptor 1841–1919

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“As far as my work concerned, I am busy with a few small paintings, one is ordered and the other I have to 'adventure'. More and more I feel that I am short of so many studies, if I had the money, I didn't make any painting next year, I would only study [sketches]; but well, you have to make the best of a bad job, it will be hard enough to enable myself a living.”

Anton Mauve (1838–1888) Dutch painter (1838–1888)

translation from original Dutch, Fons Heijnsbroek, 2018
(version in original Dutch / origineel citaat van Anton Mauve, uit zijn brief:) Wat mijn werk betreft zit ik aan enige kleine schilderijtjes, een is mij besteld en die andere moet ik avonturen. Ik voel hoe langer hoe langs hoe meer dat ik zooveel studie te kort kom, als ik geld had schilderde ik in het eerste jaar geen schilderij en studeer ik [schetsen], maar enfin je moet eens door een zure appel heenbijten, het zal mij moeite genoeg kosten om te kunnen leven.
Quote of Mauve, in a letter to Willem Maris, from Oosterbeek, 1864; as cited in Anton Mauve 1838 - 1888, exhibition catalog of Teylers Museum, Haarlem / Laren, Singer, ed. De Bodt en Plomp, 2009, p. 133
1860's

“I have seen big painting here. When I had looked at all the paintings by all the masters I had known I could not help saying to myself all the time, it's very pretty but it's not all yet. It ought to be better, but now I have seen what I always thought ought to have been done and what did not seem to me impossible. O what satisfaction it gave me to see the good Spanish work so good so strong so reasonable so free from every affectation. It stands out like nature itself.”

Thomas Eakins (1844–1916) American painter

Letter from Madrid to Benjamin Eakins (1869-12-02).

“I am busy painting every day studies of the weavers here, which I think are technically better than the painted studies from Drenthe, which I sent you.”

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

1880s, 1884
Source: Quote from Letter 355, from Nuenen The Netherlands, January 1884; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, page: Catalog: Dutch Period 2. - Weaver

“Every so often, every artist feels: 'I'll never paint again. The muse has gone out the window.' In 1985 I hardly painted at all for three months, and it was agonizing. I looked at reproductions. I stared at Matisse. I stared at the Old Masters. I stared at the Quattrocento. And I thought to myself - Don't push it! If you try too hard to get at something, you almost push it away.”

Helen Frankenthaler (1928–2011) American artist

1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

“I don't like that word 'finish'. When something is finished, that means it's dead, doesn't it? I believe in everlastingness. I never finish a painting – I just stop working on it for a while. I like painting because it's something I never come to the end of. Sometimes I paint a picture, then I paint it all out. Sometimes I'm working on fifteen or twenty pictures at the same time. I do that because I want to – because I like to change my mind so often. The thing to do is always to keep starting to paint, never finishing painting.”

Arshile Gorky (1904–1948) Armenian-American painter

quote of 1948
1942 - 1948
Source: Movements in art since 1945, Edward Lucie-Smith, Thames and Hudson 1975, p 32

“There are people who have made me see shapes — and others I thought of a great deal, even people I have loved, who make me see nothing. I have painted portraits that to me are almost photographic. I remember hesitating to show the paintings, they looked so real to me. But they have passed into the world as abstractions - no one seeing what they are.”

Georgia O'Keeffe (1887–1986) American artist

1970s, Some Memories of Drawings (1976)

“Do you know what I really need to make a well-finished painting? 2 years at Gérome or somebody like him, working in the studio.... because that is the only way to become a good painter. That whole business.. then a small watercolour than a little painting and finally when I have earned so much that I could study, I have become too old and too miserable.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

translation from the original Dutch, Fons Heijnsbroek
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Weet U wat ik nodig heb om een goed afgewerkt schilderij te maken? 2 jaar bij Gérome of zoo iemand op 't atelier te werken.. ..want dat is de enige manier om een goed schilder te worden. Dat gewurm, dan een aquarelletje dan een schilderijtje en eindelijk als ik daardoor zo veel verdiend heb dat ik zou kunnen studeeren ben ik te oud en te beroerd geworden.
In his letter to A.P. van Stolk, nr. 51, c. 1884; RKD-Archive, The Hague; as cited in master-thesis Van Gogh en Breitner in Den Haag, Helewise Berger, University of Utrecht, The Netherlands, p. 29
Breitner responds to accusations from his Maecenas that he refused to learn from well-known Dutch painters how to finish his paintings well. In 1884 already Breitner started in the studio of Cormon in Paris
before 1890

“I won't be here long, I am working as hard as I can, as I told you [in a letter] yesterday, I am very happy to be here Etretat, Normandy] and I hope to come up with something good, in any case I will bring lots of studies back with me so I can work on some big things at home.”

Claude Monet (1840–1926) French impressionist painter

Quote in Monet's letter from Etretat to his second [future] wife Alice Hoschedé, 1883; as cited in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 51
1870 - 1890

“I am most anxious to get into my London painting-room, for I do not consider myself at work unless I am before a six-foot canvas. I have done a good deal of skying for I am determined to conquer all difficulties, and that among the rest.”

John Constable (1776–1837) English Romantic painter

Quote from John Constable's letter to Rev. John Fisher (23 October 1821), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 41
1820s

“If I paint a girl in the sunlight, it's the sunlight I am painting, not the real girl; and even fort hat I should have the sunlight on my palette. I don't care for an accidental effect of light and shade, a thing of 'mere charm.”

André Derain (1880–1954) French painter and engraver

Source: The Wild Men of Paris', 1910, p. 407

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Pierre-Auguste Renoir 44

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