Everyone discusses my art and pretends to understand, as if it were necessary to understand, when it is simply necessary to love.— Claude Monet
The most authentic Claude Monet quotes to discover and learn by heart
I must have flowers, always, and always.
It's on the strength of observation and reflection that one finds a way.
So we must dig and delve unceasingly.
All I did was to look at what the universe showed me, to let my brush bear witness to it.
I would like to paint the way a bird signs.
Light is the most important person in the picture.
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.
It is a tragedy that we live in a world where physical courage is so common, and moral courage is so rare.
Everything changes, even stone.
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.
I would advise young artists to paint as they can, as long as they can, without being afraid of painting badly.
I didn't become an impressionist. As long as I can remember I always have been one.
It took me time to understand my water lilies.
I had planted them for the pleasure of it; I grew them without ever thinking of painting them.
All of a sudden I had the revelation of how enchanting my pond was.
I had so much fire in me and so many plans.
By the single example of this painter devoted to his art with such independence, my destiny as a painter opened out to me.
The richness I achieve comes from nature, the source of my inspiration.
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.
No one is an artist unless he carries his picture in his head before painting it, and is sure of his method and composition.
I perhaps owe having become a painter to flowers.
I'm enjoying the most perfect tranquillity, free from all worries, and in consequence would like to stay this way forever, in a peaceful corner of the countryside like this.
My garden is my most beautiful masterpiece
It's enough to drive you crazy, trying to depict the weather, the atmosphere, the ambience.
I'm continuing to work hard, not without periods of discouragement, but my strength comes back again.
Now I really feel the landscape, I can be bold and include every tone of pink and blue: it's enchanting, it's delicious, and I hope it will please you.
I see less and less... I need to avoid lateral light, which darkens my colors. Nevertheless, I always paint at the times of day most propitious for me, as long as my paint tubes and brushes are not mixed up... I will paint almost blind, as Beethoven composed completely deaf.
I am very depressed and deeply disgusted with painting. It is really a continual torture.
A good impression is lost so quickly.
I'm never finished with my paintings;
the further I get, the more I seek the impossible and the more powerless I feel.
Color is my day-long obsession, joy and torment.
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.
Lots of people will protest that it's quite unreal and that I'm out of my mind, but that's just too bad
Without the fog, London would not be a beautiful city.
It is fog that gives it its magnificent amplitude...its regular and massive blocks become grandiose in that mysterious mantle.
Zaandam has enough to paint for a lifetime.
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.
One can do something if one can see and understand it.
Colors pursue me like a constant worry. They even worry me in my sleep.
I am following Nature without being able to grasp her, I perhaps owe having become a painter to flowers.
One day Boudin said to me, 'Learn to draw well and appreciate the sea, the light, the blue sky.' I took his advice.
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.
I am pleased with the exhibition... everything on display was sold for a good price to decent people. It has been a long time since I believed that you could educate public taste.
I sometimes feel ashamed that I am devoting myself to artistic pursuits while so many of our people are suffering and dying for us. It's true that fretting never did any good.
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.
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.
Pictures aren't made out of doctrines.
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.
I'm working hard with more determination than ever.
My success at the Salon led to my selling several paintings and since your absence I have made 800 francs; I hope, when I have contracts with more dealers, it will be better still.
The only merit I have is to have painted directly from nature with the aim of conveying my impressions in front of the most fugitive effects.
For me, a landscape does not exist in its own right, since its appearance changes at any moment.
While adding the finishing touches to a painting might appear insignificant, it is much harder to do than one might suppose.
I know that to paint the sea really well, you need to look at it every hour of every day in the same place so that you can understand its way in that particular spot; and that is why I am working on the same motifs over and over again, four or six times even.
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.