“The habit of breaking up one's colour to make it brilliant dates from further back than Impressionism—Couture advocates it in a little book called 'Causeries d'Atelier' written about 1860—it is part of the technique of Impressionism but used for quite a different reason.”

Source: K.C. Charteris John Sargent http://books.google.co.in/books?id=oInqAAAAMAAJ, C. Scribener's Sons, 1927, p.125

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John Singer Sargent3

American painter 1856–1925

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“On the other hand, the artist has much to do in the realm of color construction, which is so little explored and so obscure, and hardly dates back any farther than to the beginning of Impressionism.”

Robert Delaunay (1885–1941) French painter

Quote in: Herschel Browning Chipp Theories of Modern Art: A Source Book by Artists and Critics http://books.google.co.in/books?id=zvbyDtOaNVgC&pg=PA318, University of California Press, 1968, p. 318 <br class="br">1915 - 1941

“One morning one of us had run out of black; and that was the birth of Impressionism.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

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“I was interested in achieving a creative freedom, a style that I could express with Seurat's.... color technique [color-divisionism], but shaped to my own needs. Proof that I found it is in my paintings of that period, among which is the famous 'Pan-Pan a Monico' [Severini painted in 1912]. My preference for Neo-Impressionism dates from those works. At times I tried to suppress it, but it always worked its way back to the surface.”

Gino Severini (1883–1966) Italian painter

Source: The Life of a Painter - autobiography', 1946, p. 53; as quoted in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003.

“About 1883 a kind of break occurred in my work. I had wrung Impressionism dry, and had come to the conclusion that I knew neither how to paint nor how to draw. In a word, I was at an impasse”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Benicka (1980) commented:
The frescoes of Raphael and the Pompeian murals that he saw there definitely confirmed what Renoir had begun to feel about his own art; that it was becoming too amorphous in character and was weak in design.
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Source: ‎'‎'Renoir‎'‎', by A. Vollard, Paris, 1920, p. 135; as quoted in: Corinne Benicka (1980) Great modern masters. p. 130;

“It's like Impressionism. They all do it at the Salons. Oh, very discreetly! I too was an Impressionist. I don't conceal the fact. Pissarro had an enormous influence on me. But I wanted to make out of Impressionism something solid and lasting like the art of the museums.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 164, in: 'What he told me – I. The motif'

“Keeping a book on macroeconomics up to date is a challenging and neverending task. The field is continually evolving, as new events and research lead to doubts about old views and the emergence of new ideas, models, and tests. The result is that each edition of this book is very different from the one before. This is truer of this revision than any previous one.”

David Romer (1958) American economist

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“I have written a book with Jacob Laksin about universities called One Party Classroom.”

David Horowitz (1939) Neoconservative activist, writer

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“Since the appearance of Impressionism, the official salons, which used to be brown, have become blue, green, and red... But peppermint or chocolate, they are still confections.”

Claude Monet (1840–1926) French impressionist painter

Quote of Claude Monet (1909), as cited in: Sarah Walden (1985) The ravished image, or, How to ruin masterpieces by restoration, p. 67
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“What I am trying to do is something different — an effect of reality, but what some fools call Impressionism, a term that is usually misapplied, especially by the critics who don't hesitate to apply it to Turner, the greatest creator of mysterious effects in the whole world of art.”

Claude Debussy (1862–1918) French composer

As quoted in The Lives of the Great Composers (1997) by Harold C. Schonberg, p. 464

“I wanted to tell you that in about 1883 there occurred a kind of break in my work. I had got to the end of 'Impressionism', and I had come to the conclusion that I didn't either how to paint or how to draw. In short, I had come to a dead end.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Source: undated quotes, Renoir – his life and work, 1975, p. 175 : Renoir's remark to Vollard.

“The habit of breaking up one's colour to make it brilliant dates from further back than Impressionism—Couture advocates it in a little book called 'Causeries d'Atelier' written about 1860—it is part of the technique of Impressionism but used for quite a different reason.”

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John Singer Sargent3

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