Quotes about nature and animals

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“In the university of God, however brilliant you may be, you will not be given double promotion. You must take every course, because each course serves a purpose.”

T. B. Joshua (1963) Nigerian Christian leader

On his background - "Who Is T.B. Joshua's Mentor?" http://www.nigeriavillagesquare.com/articles/guest-articles/who-is-t.b.-joshuas-mentor.html Nigeria Village Square (June 29 2009)

“Try and find somebody who is lonely. And when you go to see them, they will see you as the messiah. Go and visit a little old lady who has no friends or family. Bring her flowers. People say ‘but that’s nothing.’ It is nothing—but it’s also everything. It always begins with small little things. It all began in Bethlehem. That was pretty small.”

Jean Vanier (1928–2019) Canadian humanitarian

The Gift of Living With the Not Gifted http://www.wsj.com/articles/the-gift-of-living-with-the-not-gifted-1428103079 Wall Street Journal, April 3, 2015
From interviews and talks

“Karpov, Kasparov, Korchnoi have absolutely destroyed chess by their immoral, unethical, prearranged games. These guys are really the lowest dogs around, and if people knew the truth about them, they would be held in more contempt than Ben Johnson, the runner, and they're going to know the truth when I do this book!”

Bobby Fischer (1943–2008) American chess prodigy, chess player, and chess writer

Press Conference, September 1 1992 http://www.bobby-fischer.net/Bobby_Fischer_Articles6.html
1990s

“Your cold blood cannot be worked into a fever; your veins are full of ice water; but mine are boiling, and the sight of such chillness makes them dance.”

Emily Brontë book Wuthering Heights

Source: Wuthering Heights

“I am working from morning to evening, brimming with energy.. I'm fencing and wrestling with the sun. And what a sun it is! In order to paint here, one would need gold and precious stones. It is quite remarkable.”

Claude Monet (1840–1926) French impressionist painter

Quote in a letter from Cote d'Azure to sculptor and friend Auguste Rodin, 1 February 1888; as cited in R. Gordon and A. Forge (1983), Monet, p. 123
1870 - 1890

“Among Troyon's paintings there are two huge ones; Return to the Farm is marvelous with its beautiful stormy sky. There is much windy motion in the clouds, and the cows and dogs are very good. In Going to the Market you see the mist at sunrise. It's superb and, most of all, very luminous. The wide space in View from Surennes is amazing. You feel you are really in the countryside.”

Claude Monet (1840–1926) French impressionist painter

1859 letter to Eugène Boudin, June 3, 1859; as cited in Rodolphe Rapetti (1990) Monet, p. 11
Monet wrote Boudin this letter just after he visited the 1859 Salon.
1850 - 1870

“For me, a landscape does not exist in its own right, since its appearance changes at every moment; but the surrounding atmosphere brings it to life - the air and the light which vary continually. For me, it is only the, surrounding atmosphere which gives subjects their true value.”

Claude Monet (1840–1926) French impressionist painter

Claude Monet, 1891; as cited in: National Gallery of Australia, ‎Michael Lloyd, ‎Michael Desmond (1992), European and American paintings and sculptures 1870-1970 in the Australian National Gallery, p. 75
1890 - 1900

“Nothing in the whole world is of interest to me but my painting and my flowers.”

Claude Monet (1840–1926) French impressionist painter

his remark, shortly after the death of his second wife Alice in 1911; as quoted in: K.E. Sullivan Monet: Discovering Art, Brockhampton press, London (2004), p. 76
1900 - 1920

“I see less and less... I need to avoid lateral light, which darkens my colors. Nevertheless, I always paint at the times of day most propitious for me, as long as my paint tubes and brushes are not mixed up.... I will paint almost blind, as Beethoven composed completely deaf.”

Claude Monet (1840–1926) French impressionist painter

Quote, Jan. 1921, to journalist Marcel Pays. Monet in the 20th Century, by Paul Hayes Tucker.
1920 - 1926

“I can no longer work outside because of the intensity of the light.”

Claude Monet (1840–1926) French impressionist painter

in the Summer of 1920, to Gustave Geffroy. Monet in the 20th Century, by Paul Hayes Tucker.
1920 - 1926

“I hired a good carriage and had myself driven to Menton, a delightful outing of several hours. Menton is wonderful and is in a splendid setting. I walked to Cap Martin, a famous spot between Menton and Monte Carlo. I saw two motifs there that I want to paint because they are so different from things here, where the sea plays no big part in my studies, where the sea plays no big plays no big part in my studies.”

Claude Monet (1840–1926) French impressionist painter

in a letter to his second wife Alice Hoschedé, 1884; as cited in: Christoph Heinrich, Monet, (2000), p. 64
1870 - 1890

“There at the moment in Honfleur... Boudin and Jongkind are here; we get on marvelously. There's lots to be learned and nature begins to grow beautiful... I shall tell you I'm sending a flower picture to the exhibition at Rouen; there are very beautiful flowers at present.”

Claude Monet (1840–1926) French impressionist painter

in a letter to Frédéric Bazille; as cited in: Edward B. Henning, Cleveland Museum of Art. Creativity in art and science, 1860-1960. (1987), p. 95
1850 - 1870

“My dear Hoschedé, I do not know if in Paris it is the same weather as here, it is probable and so you will be able to understand my discouragement. I am heartbroken, and I absolutely must share with you all my disillusionment; for nearly two months, I have given myself a lot of trouble without result. You do not believe it perhaps, but it is so: I have not lost an hour and would have reproached myself to have taken even a day to come see our exhibition, just out of the fear of losing a single good painting session, an hour of sun. I alone can know my anxieties and the trouble that I give myself to finish canvases that don't even satisfy me and please so few people. In a word, I am absolutely discouraged, not seeing, not hoping in any future... I feel all too well the void that is being made around me and the impossibility of facing up to my part of our expenses if we were to continue living together... I see everything in black, in pain... Please believe all the sorrow that I have in causing you trouble.”

Claude Monet (1840–1926) French impressionist painter

In a letter to Ernest Hoschedé, May 15, 1879 (W, letter, 158); as cited in: Mary M. Gedo (2013) Psychoanalytic Perspectives on Art. p. 123
1870 - 1890

“One day Eugène Boudin said to me, '.. appreciate the sea, the light, the blue sky'. I took his advice and together we went on long outings during which I painted constantly from nature. This was how I came to understand nature and learned to love it passionately.”

Claude Monet (1840–1926) French impressionist painter

as quoted in Discovering Art, – The life time and work of the World’s greatest Artists, MONET; K.E. Sullivan, Brockhamptonpress, London 2004, p. 10
after Monet's death

“The sea is superb, but the cliffs don't match up to those at Fecamp. Here I'll be certain to do more boats.”

Claude Monet (1840–1926) French impressionist painter

in his letter from Dieppe; as quoted in: Howard F. Isham (2004) Image of the Sea: Oceanic Consciousness in the Romantic Century. p. 336 : About his 1880s travels
1870 - 1890

“I have not been able to see a bit of sea or any water at all; everything is frozen and covered with snow.”

Claude Monet (1840–1926) French impressionist painter

in a letter from Sandviken to Gustave Geffroy, 26 February 1895 (L. 1274); as cited in: Steven Z. Levine, ‎Claude Monet (1994), Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self. p. 93
1890 - 1900

“It took me a long time to understand my water lilies... I planted them for pleasure, and grew them without thinking of painting them.. You don't absorb a landscape in a day... And then, all of a sudden, I had the revelation of the enchantment of my pond. I took up my palette.”

Claude Monet (1840–1926) French impressionist painter

in Marc Elder, A Giverny, chez Claude Monet (1924); as quoted in: Vivian Russell (1998) Monet's Water Lilies: The Inspiration of a Floating World. p. 19
1920 - 1926

“[While working beneath the cliff at Manneport, Normandy] I didn't see a huge wave coming; it threw me against the cliff and I was tossed about in its wake along with all my materials! My immediate thought was that I was done for, as the water dragged me down, but in the end I managed to clamber out on all fours, but Lord, what a state I was in! My boots, my thick stockings and my coat were soaked through. The palette which I had kept a grip on had been knocked over my face and my beard was covered in blue, yellow etc. But anyway, now the excitement is passed and no harm's done, the worst of it was that I lost my painting which was very soon broken up, along with my easel, bag etc. Impossible to fish anything out. Besides, everything was torn to shreds by the sea, that "old hag" as you sister calls her.”

Claude Monet (1840–1926) French impressionist painter

in a letter from Etretat to Alice Hoschedé, 1884; as quoted in: Howard F. Isham (2004) Image of the Sea: Oceanic Consciousness in the Romantic Century. p. 337
1870 - 1890

“I can't hold out any longer and am in a state of utter despair. After a few days of good weather, it's raining again and once again I have had to put the studies I started to one side. It's driving me to distraction and the unfortunate thing is that I take it out on my poor paintings. I destroyed a large picture of flowers which I'd just done along with three or four paintings which I not only scraped down but slashed. This is absurd... Please be kind enough to have some money forwarded to me.”

Claude Monet (1840–1926) French impressionist painter

Quote in a letter from Pourville c. 1882, to his art-dealer Durand-Ruel; as cited in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 50
1870 - 1890

“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

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