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I will bring lots of studies back with me so I can work on some big things at home.

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
Lots
Bring
Study
Bigs
Home
Back
Work
Things
Studies

More quotes by Claude Monet

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No, I'm not a great painter. Neither am I a great poet.
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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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Nothing in the whole world is of interest to me but my painting and my flowers.
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No one but myself knows the anxiety I go through and the trouble I give myself to finish paintings which do not satisfy me and seem to please so very few others.
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I must have flowers, always, and always.
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It's enough to drive you crazy, trying to depict the weather, the atmosphere, the ambience.
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Getting up at 4 in the morning, I slave away all day until by the evening I'm exhausted, and I end by forgetting all my responsibilities, thinking only of the work I've set out to do.
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Gardening was something I learned in my youth when I was unhappy. I perhaps owe having become a painter to flowers.
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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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I'm continuing to work hard, not without periods of discouragement, but my strength comes back again.
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Color is my day-long obsession, joy and torment. To such an extent indeed that one day, finding myself at the deathbed of a woman who had been and still was very dear to me, I caught myself in the act of focusing on her temples and automatically analyzing the succession of appropriately graded colors which death was imposing on her motionless face.
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Work is nearly always a torture. If I could find something else I would be much happier, because I could use this other interest as a form of relaxation. Now I cannot relax.
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The point is to know how to use the colours, the choice of which is, when all's said and done, a matter of habit.
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I want the unobtainable. Other artists paint a bridge, a house, a boat, and that's the end. They are finished. I want to paint the air which surrounds the bridge, the house, the boat, the beauty of the air in which these objects are located, and that is nothing short of impossible.
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It is difficult to stop in time because one gets carried away. But I have that strength it is the only strength I have.
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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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Most people think I paint fast. I paint very slowly.
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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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Zaandam has enough to paint for a lifetime.
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I have made tremendous efforts to work in a darker register and express the sinister and tragic quality of the place, given my natural tendency to work in light and pale tones.
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