“Perspective and Impressionism were tentative attempts to deal with the world of appearance because of a fear to look inside. Cubism is structure and order. Now both epidermis and order are no longer possible.... The accidental aspects of Impressionist composition are to be understood as a reaction. And the reaction of Cézanne is to be seen as a response to Impressionism. One cannot simply disregard Impressionism. As a dialectic antithesis it was important. The Impressionists had the idea of dissolution; they wanted to represent light, not bodies and not shadows, but light for itself. Frequently I find this tedious, but there is an idea behind it: Atomization is a modern idea..”

— Anselm Kiefer

(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

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Anselm Kiefer 20

German painter and sculptor 1945

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“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'

“The Impressionists were the first [painters] to reject the absolute value of the subject and to consider its value to be merely relative... In Paul Cezanne's letters I notice ideas like these: 'Objects must turn, recede, and live. I wish to make something lasting from impressionism, like the art in the museums'....'For an impressionist, to paint after nature is not to paint the object, but to express sensations'....'After having looked at the old masters, one must take haste to leave them and to verify in one's self the instincts, the sensations that dwell in us.”

Fernand Léger (1881–1955) French painter

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 11
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

“Light is impressionism.”

Gae Aulenti (1927–2012) Italian architect, lighting and interior designer, and industrial designer

Source: Time (8 December 1986) : On positioning galleries for impressionist and post impressionist paintings at the top of her design for Paris's Musée d'Orsay

“Impressionism is at the root of all modern art, because it was the first movement that managed to free itself from preconceived ideas, and because it changed not only the way life was depicted but the way life was seen.”

Francesco Salvi (1953) Italian actor, writer, comedian, singer and architect

Source: Nancy Bachus The Modern Piano: The Influence of Society, Style, and Musical Trends on the Great Piano Composers http://books.google.co.in/books?id=azsmp3dvjk8C&pg=PA10, Alfred Music Publishing, 1 August 2006, p. 10

“What I want to produce is something compelling, something full, an excitement and intoxication of color – something powerful. The paintings I did in Paris are too cool, too solitary and empty. They are the reaction to a restless and superficial period in my life and seem to strain for a simple, grand effect. I wanted to conquer Impressionism by trying to forget it. What happened was that it conquered me. We must work with digested and assimilated Impressionism..”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to Bernhard Hoetger, from Paris, Summer 1907; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 207
1906 + 1907

“We also consider that Miss Berthe Morisot's [woman painter in French Impressionism who got later married with a brother of Eduard Manet] name and talent are too important to us to do without. [Degas is referring to her participation in the first Impressionist's show he was preparing, then; he was in strong opposition to Eduard Manet who wanted to exclude Berthe Morisot)”

Edgar Degas (1834–1917) French artist

Quote from Degas' letter to Cornelie Morisot (mother of Berthe Morisot), Spring 1873; as cited in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 119
1855 - 1875

“I want to give colors intoxication, fullness, excitement, power. By trying to forget Impressionism, I wanted to conquer it. In the process I was conquered. We must work with assimilated, digested Impressionism.”

Paula Modersohn-Becker (1876–1907) German artist

As quoted in: Ingo F. Walther (2000) Art of the 20th Century. Part 1, p. 49
undated quotes

“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
1900 - 1920

“Now I as a painter shall never stand for anything of importance. I feel it utterly... I sometimes regret I did not simply keep to the Dutch palette [of Dutch impressionism ] with its grey tones, and have brushed away at landscapes of Montmartre [in 1886-87] with no ado.”

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

Quote in his letter to brother Theo, from Arles, France, 3 May 1889; 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, (letter 590), p. 33
1880s, 1889

“Besides, the entire impressionism usually presented merely the things from the outside. And sometimes they did it so perfectly that a seventeen[the] century painting looks clumsy, as far as seeing is concerned.”

Jan Mankes (1889–1920) Dutch painter

Trouwens het geheele impressionisme gaf meestal weinig meer dan de uiterlijke zijde der dingen. En dat deden ze soms zoo volmaakt dat een zeventien[de] eeuwsch schilderij er onbeholpen tegen is, wat zién betreft.

In a letter to A.A.M. Pauwels in The Hague, 6 March 1913; as cited in Jan Mankes – in woord en beeld, ed. Sjoerd van Faassen; Museum Bèlvédère, Heerenveen, 2015 ISBN 1877-0983, n. 22, p. 28
1909 - 1914

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Anselm Kiefer 20

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