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I am enslaved to my work, always wanting the impossible, and never, I believe, have I been less favoured by the endlessly changeable weather.

Claude Monet

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Claude Monet
Age: 86 †
Born: 1840
Born: November 14
Died: 1926
Died: December 5
Graphic Artist
Painter
Paris
France
Monet
Klod Mone
Claude-Oscar Monet
Cl. Monet
Oscar Claude Monet
monet claude
claude oscar monet
monet c.
Claude Jean Monet
Claude Oscar Monet
C. Monet
Oscar-Claude Monet
Work
Favoured
Believe
Changeable
Always
Enslaved
Never
Endlessly
Wanting
Weather
Impossible
Less

More quotes by Claude Monet

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I'm knocked out, I've never felt so physically and mentally exhausted, I'm quite stupid with it and long only for bed but I am happy.
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I'm quite content: although what I'm doing is far from being as I should like, I am complemented often enough all the same.
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My rejection at the Salon brought an end to my hesitation [to settle in Paris] since after this failure I can no longer claim to cope... alas, that fatal rejection has virtually taken the bread out of my mouth.
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Listening only to my instincts, I discovered superb things.
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I have once more taken up things that can't be done: water with grasses weaving on the bottom. But I'm always tackling that sort of thing!
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I can only draw what I see.
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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 light and the air which vary continually. For me, it is only the surrounding atmosphere which gives subjects their true value.
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It was at home I learned the little I know. Schools always appeared to me like a prison, and never could I make up my mind to stay there, not even for four hours a day, when the sunshine was inviting, the sea smooth, and when it was joy to run about the cliffs in the free air, or to paddle in the water.
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One's better off alone, and yet there are so many things that are impossible to fathom on one's own. In fact it's a terrible business and the task is a hard one.
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My only desire is an intimate infusion with nature, and the only fate I wish is to have worked and lived in harmony with her laws.
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The older I become the more I realize of that I have to work very hard to reproduce what I search: the instantaneous. The influence of the atmosphere on the things and the light scattered throughout.
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I do have a dream, a tableau of the bathing place of La Grenouillère, for which I've done some bad pochades (sketches), but it is a dream. Renoir, who have just spent a couple of months here, also wants to paint this subject.
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It's on the strength of observation and reflection that one finds a way. So we must dig and delve unceasingly.
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I want to paint the air in which the bridge, the house and the boat are to be found - the beauty of the air around them, and that is nothing less than the impossible.
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I know well enough in advance that you'll find my paintings perfect. I know that if they are exhibited they'll be a great success, but I couldn't be more indifferent to it since I know they are bad, I'm certain of it.
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The light constantly changes, and that alters the atmosphere and beauty of things every minute.
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I am good at only two things, and those are gardening and painting.
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Most people think I paint fast. I paint very slowly.
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I get madder and madder on giving back what I feel.
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One is too taken up with all that one sees and hears in Paris, however strong one is, and what I do here [in Etretat] will at least have the merit of being unlike anyone else, at least I believe so, because it will simply be the expression of what I, and only I, have felt.
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