Quotes about motivation and change (page 12)

“I have at last found a suitable spot and settled her. I have already spend a few days working and started eight canvases, which I hope, if the weather favours me, will give an idea of Norway and the environs of Christiania... This morning I was painting under constant falling snow. You would have burst out laughing seeing me white all over, my beard overgrown with icicles.”

Claude Monet (1840–1926) French impressionist painter

in his letter from Sandviken to Gustave Geffroy, late January 1895; (Geoffrey, 1922, vol 2 pp. 87-88); as cited in: Nathalia Brodskaya, Claude Monet, 2011, p. 106
Similar translation:
One should live here for a year in order to accomplish something of value, and that is only after having seen and gotten to know the country. I painted today, a part of the day, in the snow, which falls endlessly. You would have laughed if you could have seen me completely white, with icicles hanging from my beard like stalactites.
1890 - 1900
Source: Claude Monet, ‎Charles F. Stuckey (1985) Monet: a retrospective, p. 169

“Colours no longer looked as brilliant to me as they use to do [Monet's sight was beginning to fail], I no longer painted shades of light so correctly. Reds looked muddy to me, pinks insipid, and the intermediate or lower notes in the colour scale escaped me. As for forms, I could see them as clear as ever, and render them as decisively. At first I tried pertinacity. How many times I have remained for hours near the little bridge, exactly were we are now, in the full glare of the sun, sitting on my camp-stool, under my sunshade, forcing myself to resume my interrupted task and to recapture the freshness my palette had lost! A waste of effort. What I painted was more and more mellow.... and (when) I compared it with what I used to do in the old days. I would fall into a frantic rage, and I slashed all my pictures with my penknife.”

Claude Monet (1840–1926) French impressionist painter

remark by Monet – between 1900 and 1920 – on his 'Water lilies' paintings; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 131-132
1900 - 1920

“In Paris one is too preoccupied by what one sees and what one hears, however strong one is; what I am doing here has, I think, the merit of not resembling anyone, because it is simply the expression of what I myself have experienced.”

Claude Monet (1840–1926) French impressionist painter

in a letter to Frédéric Bazille from Etretat, December 1868; as cited in: Mary Tompkins Lewis (2007) Critical Readings in Impressionism and Post-Impressionism. p. 83
1850 - 1870

“I was thinking of preparing my palette and my brushes to resume work, but relapses and further bouts of pain prevented it. I'm not giving up that hope and am occupying myself with some major alterations in my studios and plans to perfect the garden [in Giverny ]. All this to show you that, with courage, I'm getting the upper hand.”

Claude Monet (1840–1926) French impressionist painter

three months before Monet died
Quote from Monet's letter to Georges Clemenceau, Sept. 1926; as cited in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 79
1920 - 1926

“[looking at the dead body of his first wife Camille, 5 Sept 1879], watching her tragic forehead, almost mechanically observing the colors which death was imposing on her rigid face. Blue. Blue, yellows, grey, what do I know?... How natural to to want to reproduce the last image of her, who was leaving us for ever. But even before the idea came to me to record her beloved features, something in me automatically responded tot the shocks of colours. I just seem to be compelled in an unconsciousness activity, the one I engage in every day, like an animal turning in its mill.”

Claude Monet (1840–1926) French impressionist painter

Quote in Monet's letter, September 1879; as cited in The Private Lives of the Impressionists Sue Roe; Harper Collins Publishers, New York, 2006, p. 209
1870 - 1890

“I tell myself that anyone who says he has finished a canvas is terribly arrogant. Finished means complete, perfect, and I toil away without making any progress, searching, fumbling around, without achieving anything much.”

Claude Monet (1840–1926) French impressionist painter

Claude Monet, 1893; as quoted in: David W. Galenson (2009), Painting outside the Lines, p. 49
1890 - 1900

“A group of painters assembled in my home, read with pleasure the article you published in 'L'Avenir national'. We are all very pleased to see you defend ideas which are also ours, and we hope that, as you say, 'L'Avenir national' will kindly lend us its support when the Society we are in the process of forming is finally established.”

Claude Monet (1840–1926) French impressionist painter

in a Letter to , May 1873; as quoted by Sue Roe, The private live of the Impressionists, Harper Collins Publishers, New York, 2006, p. 120
the coming impressionists are starting to form a new artist-group, to organize an independent and concurrent exhibition, as an alternative exhibition for the official yearly (rather classical) Paris Salon
1870 - 1890

“Is the perseverance you have in keeping your ideas alive.”

Prevale (1983) Italian DJ and producer

Original: (it) È la costanza che hai nel fare a mantenere in vita le tue idee.
Source: prevale.net

“Patience is the art of hoping.”

Luc de Clapiers, Marquis de Vauvenargues (1715–1747) French writer, a moralist

La patience est l’art d’espérer.
Source: Reflections and Maxims (1746), p. 180.

“Patience and time do more than strength or passion.”

Jean De La Fontaine (1621–1695) French poet, fabulist and writer.

Patience et longueur de temps
Font plus que force ni que rage.
Book II (1668), fable 11.
Fables (1668–1679)

“IN THE END… We only regret the chances we didn’t take, the relationships we were afraid to have, and the decisions we waited too long to make.”

Lewis Carroll (1832–1898) English writer, logician, Anglican deacon and photographer

“Decision is a risk rooted in the courage of being free.”

Paul Tillich (1886–1965) German-American theologian and philosopher

“Someone has said that it requires less mental effort to condemn than to think.”

Emma Goldman (1868–1940) anarchist known for her political activism, writing, and speeches

Anarchism: What It Really Stands For (1910) http://dwardmac.pitzer.edu/Anarchist_archives/goldman/aando/anarchism.html
Context: Someone has said that it requires less mental effort to condemn than to think. The widespread mental indolence, so prevalent in society, proves this to be only too true. Rather than to go to the bottom of any given idea, to examine into it's origing and meaning, most people will either condem it alltogether, or rely on some superficial or perjudicial definition of non-essentials

“Speed is the essence of war. Take advantage of the enemy's unpreparedness; travel by unexpected routes and strike him where he has taken no precautions.”

Sun Tzu (-543–-495 BC) ancient Chinese military general, strategist and philosopher from the Zhou Dynasty

Source: The Art of War, Chapter XI · The Nine Battlegrounds

“Move not unless you see an advantage; use not your troops unless there is something to be gained; fight not unless the position is critical. No ruler should put troops into the field merely to gratify his own spleen; no general should fight a battle simply out of pique. If it is to your advantage, make a forward move; if not, stay where you are. Anger may in time change to gladness; vexation may be succeeded by content. But a kingdom that has once been destroyed can never come again into being; nor can the dead ever be brought back to life. Hence the enlightened ruler is heedful, and the good general full of caution. This is the way to keep a country at peace and an army intact.”

Sun Tzu (-543–-495 BC) ancient Chinese military general, strategist and philosopher from the Zhou Dynasty

Translation by Lionel Giles
Source: The Art of War, Chapter XII · Attacking with Fire

“The quality of decision is like the well-timed swoop of a falcon which enables it to strike and destroy its victim.”

Sun Tzu (-543–-495 BC) ancient Chinese military general, strategist and philosopher from the Zhou Dynasty

Source: The Art of War, Chapter V · Forces

“Mathematicians have constructed a very large number of different systems of geometry, Euclidean or non-Euclidean, of one, two, three, or any number of dimensions. All these systems are of complete and equal validity. They embody the results of mathematicians' observations of their reality, a reality far more intense and far more rigid than the dubious and elusive reality of physics. The old-fashioned geometry of Euclid, the entertaining seven-point geometry of Veblen, the space-times of Minkowski and Einstein, are all absolutely and equally real. …There may be three dimensions in this room and five next door. As a professional mathematician, I have no idea; I can only ask some competent physicist to instruct me in the facts.
The function of a mathematician, then, is simply to observe the facts about his own intricate system of reality, that astonishingly beautiful complex of logical relations which forms the subject-matter of his science, as if he were an explorer looking at a distant range of mountains, and to record the results of his observations in a series of maps, each of which is a branch of pure mathematics. …Among them there perhaps none quite so fascinating, with quite the astonishing contrasts of sharp outline and shade, as that which constitutes the theory of numbers.”

G. H. Hardy (1877–1947) British mathematician

"The Theory of Numbers," Nature (Sep 16, 1922) Vol. 110 https://books.google.com/books?id=1bMzAQAAMAAJ p. 381

“The mathematician’s patterns, like the painter’s or the poet’s must be beautiful; the ideas like the colours or the words, must fit together in a harmonious way. Beauty is the first test: there is no permanent place in the world for ugly mathematics.”

G. H. Hardy book A Mathematician's Apology

A Mathematician's Apology (1941)

“A painter makes patterns with shapes and colours, a poet with words. A painting may embody an ‘idea’, but the idea is usually commonplace and unimportant. In poetry, ideas count for a good deal more; but, […] the importance of ideas in poetry is habitually exaggerated: '… Poetry is not the thing said but a way of saying it.' [In poetry, ] the poverty of the ideas seems hardly to affect the beauty of the verbal pattern.”

G. H. Hardy book A Mathematician's Apology

A Mathematician's Apology (1941)

“A mathematician, like a painter or a poet, is a maker of patterns. If his patterns are more permanent than theirs, it is because they are made with ideas.”

G. H. Hardy book A Mathematician's Apology

A Mathematician's Apology (1941)