Quote

What I like so much about Corot is that he can say everything with a bit of tree and it was Corot himself that I found [back] in the museum of Naples - in the simplicity of the work of Pompeii and the Egyptians. These priestesses in their silver-grey tunics are just like Corot's nymphs.

Pierre-Auguste Renoir

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Pierre-Auguste Renoir
Age: 78 †
Born: 1841
Born: February 25
Died: 1919
Died: December 3
Artist
Drawer
Illustrator
Painter
Printmaker
Sculptor
Lemòtges
Auguste Renoir
Pjer-Ogist Renoar
Pierre Auguste Renoir
August Renoir
Pierre August Renoir
firmin auguste renoir
p.a. renoir
renoir p.a.
Renoir
a. renoir
august renoir
pierre august renoir
Bits
Nymphs
Found
Egyptians
Back
Museum
Everything
Grey
Work
Museums
Much
Silver
Pompeii
Like
Simplicity
Priestesses
Tree
Naples

More quotes by Pierre-Auguste Renoir

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I've known painters who never did any good work because instead of painting their models they seduced them.
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One morning, one of us ran out of the black, it was the birth of Impressionism.
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How is it that in the so-called barbarian ages art was understood, whereas in our age of progress exactly the opposite is true?
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Paint with joy - with the same joy that you would make love to a woman.
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He bores me. He ought to have stuck to his flying machine. [On Leonardo Da Vinci]
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To get someone to pose, you have to be very good friends and above all speak the language.
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I would never have taken up painting if women did not have breasts.
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I arrange my subject as I want it, then I go ahead and paint it, like a child.
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An artist, under pain of oblivion, must have confidence in himself, and listen only to his real master: Nature.
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And if out of a million visitors there is even one to whom art means something, that is enough to justify museums.
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On the whole, the modern palette is the same as the one used by the artists of Pompeii... I mean it has not been enriched. The ancients used earths, ochres, and ivory-black - you can do anything with that palette.
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A painter who has the feel of breasts and buttocks is saved.
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One must from time to time attempt things that are beyond one's capacity.
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I had wrung impressionism dry and I finally came to the conclusion that I know neither how to paint nor how to draw.
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In painting, as in the other arts, there's not a single process, no matter how insignificant, which can be reasonably made into a formula. You come to nature with your theories, and she knocks them all flat.
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One can thus state, without fear of being wrong, that every truly artistic production has been conceived and executed according to the principle of irregularity.
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You haven't time to think about the composition. In working directly from nature, the painter ends up by simply aiming at an effect, and not composing the picture at all and he soon becomes monotonous.
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