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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.

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
House
Bridge
Found
Bridges
Around
Boat
Nothing
Paint
Air
Impossible
Beauty
Less

More quotes by Claude Monet

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Impressionism is only direct sensation. All great painters were less or more impressionists. It is mainly a question of instinct, and much simpler than [John Singer] Sargent thinks.
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Paint what you really see, not what you think you ought to see not the object isolated as in a test tube, but the object enveloped in sunlight and atmosphere, with the blue dome of Heaven reflected in the shadows.
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When I look at nature I feel as if I'll be able to paint it all, note it all down, and then you might as well forget it once you're working.
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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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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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Despite my extremely modest prices, dealers and art lovers are turning their backs on me. It is very depressing to see the lack of interest shown in an art object which has no market value.
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What I need most of all is color, always, always.
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Perhaps it's true that I'm very hard on myself, but that's better than exhibiting mediocre work... too few were satisfactory enough to trouble the public with.
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The richness I achieve comes from nature, the source of my inspiration.
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I would advise young artists to paint as they can, as long as they can, without being afraid of painting badly.
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All of a sudden I had the revelation of how enchanting my pond was.
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I waited for the idea to consolidate, for the grouping and composition of themes to settle themselves in my brain.
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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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I am enslaved to my work, always wanting the impossible, and never, I believe, have I been less favoured by the endlessly changeable weather.
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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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Now, more than ever, I realize just how illusory my undeserved success has been. I still hold out some hope of doing better, but age and unhappiness have sapped my strength.
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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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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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Techniques vary, art stays the same it is a transposition of nature at once forceful and sensitive.
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Listening only to my instincts, I discovered superb things.
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