Frases de Claude Monet (100 citas, página 2)

Fuente: Théodore Duret, en el prefacio del catálogo de la exposición de Monet en la galería La Vie Moderne, junio de 1880.
Fuente: [Solana], Guillermo. El Impresionismo: la visión original: antología de la crítica de arte (1867-1895), p. 157. Siruela, 1997. ISBN 8478443673, 9788478443673 https://books.google.es/books?id=iypANLMiIFMC&pg=PA157&dq=monet+corot&hl=es&sa=X&ved=0ahUKEwiP-PPrp_HhAhW55OAKHfL1B-0Q6AEINzAC#v=onepage&q=monet%20corot&f=false En Google Books. Consultado el 28 de abril de 2019.

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Claude Monet: Frases en inglés

“I was born undisciplined. Never, even as a child, could I be made to obey a set rule. What little I know I learned at home. School was always like a prison to me, I could never bring myself to stay there, even four hours a day, when the sun was shining and the sea was so tempting, and it was such fun scrambling over cliffs and paddling in the shallows. Such, to the great despair of my parents, was the unruly but healthy life I lived until I was fourteen or fifteen. In the meantime I somehow picked up the rudiments of reading, writing and arithmetic, with a smattering of spelling. And there my schooling ended. It never worried me very much because I always had plenty of amusements on the side. I doodled in the margins of my books, I decorated our blue copy paper with ultra-fantastic drawings, and I drew the faces and profiles of my schoolmasters as outrageously as I could, distorting them out of all recognition.”

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Claude Monet

in Denis Rouart (1972) Claude Monet, p. 21 : About his youth
after Monet's death

“[looking at the dead body of his first wife Camille, 5 Sept 1879], watching her tragic forehead, almost mechanically observing the colors which death was imposing on her rigid face. Blue. Blue, yellows, grey, what do I know?... How natural to to want to reproduce the last image of her, who was leaving us for ever. But even before the idea came to me to record her beloved features, something in me automatically responded tot the shocks of colours. I just seem to be compelled in an unconsciousness activity, the one I engage in every day, like an animal turning in its mill.”

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Claude Monet

Quote in Monet's letter, September 1879; as cited in The Private Lives of the Impressionists Sue Roe; Harper Collins Publishers, New York, 2006, p. 209
1870 - 1890

“I've never seen such changeable conditions and I had over 15 canvases under way, going from one to the other and back again, and it was never quite right; a few unfortunate brushstrokes and in the end I lost my nerve and in a temper I packed everything away in crates with no further desire to look out of the window, knowing full well that in this mood I'd only mess things up and all the paintings I'd done were awful, and perhaps they are, more than I suppose.”

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Claude Monet

Quote of Monet, ca. 1900, London; as cited in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 72
1900 - 1920

“I was thinking of preparing my palette and my brushes to resume work, but relapses and further bouts of pain prevented it. I'm not giving up that hope and am occupying myself with some major alterations in my studios and plans to perfect the garden [in Giverny ]. All this to show you that, with courage, I'm getting the upper hand.”

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Claude Monet

three months before Monet died
Quote from Monet's letter to Georges Clemenceau, Sept. 1926; as cited in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 79
1920 - 1926

“In Paris one is too preoccupied by what one sees and what one hears, however strong one is; what I am doing here has, I think, the merit of not resembling anyone, because it is simply the expression of what I myself have experienced.”

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Claude Monet

in a letter to Frédéric Bazille from Etretat, December 1868; as cited in: Mary Tompkins Lewis (2007) Critical Readings in Impressionism and Post-Impressionism. p. 83
1850 - 1870

“I am weary, having worked without a break all day; how beautiful it is here, to be sure, but how difficult to paint! I can see what I want to do quite clearly but I'm not there yet. It's so clear and pure in its pink and blues that the slightest misjudged stroke looks like a smudge of dirt... I have fourteen canvases underway.”

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Claude Monet

Monet's quote in a letter from Cote d'Azure to his second wife Alice Hoschedé, (ca. 1886): K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 55
1870 - 1890

“The following week, when he Toulmouche passed in front of me, he sat down and squarely positioned on my chair, looked at my piece. I could then see him turn around, inclining his serious face with a satisfied air and I heard him say to me while smiling: "Not bad, not at all bad this, but it is too much like the real model. You have a stocky man and you depict him as stocky… Nature, my friend, serves well as a means to study but offers no real interest. Style is the only thing that matters." I was flabbergasted. The truth, life, nature - all that provoked emotions in me - all that constituted for me the real essence and the unique "raison d'être" of art, did not exist for this man!”

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Claude Monet

Quote from Claude Monet par lui-meme – an interview by Thiébault-Sisson / translated by Louise McGlone Jacot-Descombes; published in 'Le Temps newspaper', 26 November 1900.
About Toulmouche, Monet first painting-teacher in Paris c. 1857
1900 - 1920

“By way of news, I can tell you that Couture, that bad-tempered fellow, has completely given up painting. It's no great pity; in this exhibition, he had some really bad paintings.”

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Claude Monet

in a letter to Eugène Boudin, February 10, 1860: As cited in: Angelika Taschen (1999) Monet, p. 24
1850 - 1870

“Colours no longer looked as brilliant to me as they use to do [Monet's sight was beginning to fail], I no longer painted shades of light so correctly. Reds looked muddy to me, pinks insipid, and the intermediate or lower notes in the colour scale escaped me. As for forms, I could see them as clear as ever, and render them as decisively. At first I tried pertinacity. How many times I have remained for hours near the little bridge, exactly were we are now, in the full glare of the sun, sitting on my camp-stool, under my sunshade, forcing myself to resume my interrupted task and to recapture the freshness my palette had lost! A waste of effort. What I painted was more and more mellow.... and (when) I compared it with what I used to do in the old days. I would fall into a frantic rage, and I slashed all my pictures with my penknife.”

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Claude Monet

remark by Monet – between 1900 and 1920 – on his 'Water lilies' paintings; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 131-132
1900 - 1920

“I started selling my portraits. Sizing up my customer, I charged ten or twenty francs a caricature, and it worked like a charm. Within a month my clientele had doubled. Had I gone on like that I'd be a millionaire today. Soon I was looked up to in the town, I was 'somebody'. In the shop-window of the one and only frame-maker who could make out a livelihood in Le Havre, my caricatures were impudently displayed, five or six abreast, in beaded frames or behind glass like very fine works of art, and when I saw troops of bystanders gazing at them in admiration, pointing at them and crying 'Why, that's so-and-so!', I was just bursting with pride.”

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Claude Monet

after Monet's death
Fuente: Denis Rouart (1972) Claude Monet, p. 22 : About the first steps in his career

“I can't hold out any longer and am in a state of utter despair. After a few days of good weather, it's raining again and once again I have had to put the studies I started to one side. It's driving me to distraction and the unfortunate thing is that I take it out on my poor paintings. I destroyed a large picture of flowers which I'd just done along with three or four paintings which I not only scraped down but slashed. This is absurd... Please be kind enough to have some money forwarded to me.”

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Claude Monet

Quote in a letter from Pourville c. 1882, to his art-dealer Durand-Ruel; as cited in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 50
1870 - 1890

“Did not Troyon tell me to enter the studio of Couture [in Paris]? It is needless to tell you how decided was my refusal to do so. I admit even that it cooled me, temporarily at least, in my esteem and admiration of Troyon.... and [I] after all, connected myself only with artists who were seeking.”

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Claude Monet

Quote from an interview with Thiebault-Sisson, 1900; as cited in Monet and His Muse: Camille Monet in the Artist's Life, Mary Mathews Gedo; University of Chicago Press, Sept. 2010, p. 10
1900 - 1920

“There are the most amusing things everywhere [in The Netherlands]. Houses of every colour, hundreds of windmills and enchanting boats, extremely friendly Dutchmen who almost all speak French…. I have not had time to visit the museums, I wish to work first of all and I'll treat myself to that later.”

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Claude Monet

Quote in a letter to Camille Pissarro, 17 June 1871; first part cited in: Van Gogh Museum Journal 2001 http://www.dbnl.org/tekst/_van012200101_01/_van012200101_01_0012.php Van Gogh Museum, Amsterdam 2001. p. 140; second part cited in: Ann Dumas, ‎Denver Art Museum, ‎High Museum of Art (2007), Inspiring Impressionism: : the Impressionists and the art of the past. p. 181
1870 - 1890

“My only merit lies in having painted directly in front of nature, seeking to render my impressions of the most fleeting effects, and I still very much regret having caused the naming of a group whose majority had nothing impressionist about it.”

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Claude Monet

Quote in his letter to Evan Charteris, June 21, 1926; as cited in: Levine, Steven Z. " Monet's Series: Repetition, Obsession http://www.jstor.org/discover/10.2307/778519." October (1986): 65-75.
1920 - 1926

“I could not appreciate his [ Boudin ] paintings and when he offered to take me with him to paint outdoors in the open countryside, I always found a pretext and refused politely. But when summer came, I was more or less free to dispose of my time as I wished and I had no feasible excuse left to give him and gave in. Thus it was, that Boudin - with his inexhaustible kindness - took it upon himself to educate me. With time, my eyes began to open and I really started to understand nature. I also learned to love it. I would analyze its forms with my pencil. I would study its colorations.”

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Claude Monet

quote from an interview Claude Monet par lui-meme, by Thiébault-Sisson / translated by Louise McGlone Jacot-Descombes; published in 'Le Temps newspaper', 26 November 1900
about Eugène Boudin, who was landscape-painting in and around Le Havre c. 1856; Monet was 16 years old, then
1900 - 1920

“[While working beneath the cliff at Manneport, Normandy] I didn't see a huge wave coming; it threw me against the cliff and I was tossed about in its wake along with all my materials! My immediate thought was that I was done for, as the water dragged me down, but in the end I managed to clamber out on all fours, but Lord, what a state I was in! My boots, my thick stockings and my coat were soaked through. The palette which I had kept a grip on had been knocked over my face and my beard was covered in blue, yellow etc. But anyway, now the excitement is passed and no harm's done, the worst of it was that I lost my painting which was very soon broken up, along with my easel, bag etc. Impossible to fish anything out. Besides, everything was torn to shreds by the sea, that "old hag" as you sister calls her.”

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Claude Monet

in a letter from Etretat to Alice Hoschedé, 1884; as quoted in: Howard F. Isham (2004) Image of the Sea: Oceanic Consciousness in the Romantic Century. p. 337
1870 - 1890

“It took me a long time to understand my water lilies... I planted them for pleasure, and grew them without thinking of painting them.. You don't absorb a landscape in a day... And then, all of a sudden, I had the revelation of the enchantment of my pond. I took up my palette.”

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Claude Monet

in Marc Elder, A Giverny, chez Claude Monet (1924); as quoted in: Vivian Russell (1998) Monet's Water Lilies: The Inspiration of a Floating World. p. 19
1920 - 1926

“Did you know that I went to London to see Whistler and that I spent about twelve days, very impressed by London and also by Whistler, who is a great artist; moreover, he could not have been more charming to me, and has invited me to exhibit at his show.”

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Claude Monet

Quote in a letter to art-critic Theodore Duret (13 August 1887, L. 794); as cited in: Katharine Jordan Lochnan, ‎Luce Abélès, ‎James McNeill Whistler (2004), Turner, Whistler, Monet, p. 179
1870 - 1890

“a remark of Monet, quoted by Ambroise Vollard, as quoted in Discovering Art, – The life time and work of the World’s greatest Artists, MONET'; K. E. Sullivan, Brockhamptonpress, London 2004, p. 44”

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Claude Monet

the sun went that day too far already, to be able to finish the painting well - in Monet's opinion
after Monet's death

“I have at last found a suitable spot and settled her. I have already spend a few days working and started eight canvases, which I hope, if the weather favours me, will give an idea of Norway and the environs of Christiania... This morning I was painting under constant falling snow. You would have burst out laughing seeing me white all over, my beard overgrown with icicles.”

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Claude Monet

in his letter from Sandviken to Gustave Geffroy, late January 1895; (Geoffrey, 1922, vol 2 pp. 87-88); as cited in: Nathalia Brodskaya, Claude Monet, 2011, p. 106
Similar translation:
One should live here for a year in order to accomplish something of value, and that is only after having seen and gotten to know the country. I painted today, a part of the day, in the snow, which falls endlessly. You would have laughed if you could have seen me completely white, with icicles hanging from my beard like stalactites.
1890 - 1900
Fuente: Claude Monet, ‎Charles F. Stuckey (1985) Monet: a retrospective, p. 169

“One is too taken up with all that one sees and hears in Paris, however strong one is, and what I do here 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. The further I get, the more I regret how little I know, that's what hinders me the most... I don't think I will spend much time in Paris now, a month at the very most, each year.”

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Claude Monet

in a letter to Frédéric Bazille; as quoted in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 31.
1850 - 1870

“Jongkind.... his painting was too new and far too artistic to be appreciated in 1862 at his prices. Moreover, no one was as bad at making himself valued, as he was. He was a straight-forward and simple kind of man, who could hardly speak bad French and was very shy. But he was very outgoing that day. He asked to see my sketches, invited me to come and work with him, explained the whys and wherefores underlining his work and thereby, completed the training that I had already received from Boudin. He became from this moment my true master and it [is] to him, that I owe the definitive training of my eyes.”

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Claude Monet

Quote from Claude Monet par lui-meme – interview by Thiébault-Sisson / translated by Louise McGlone Jacot-Descombes; published in Le Temps newspaper, 26 November 1900
about Johan Jongkind, famous pre-impressionist landscape-painter of Dutch origin, painting then in Honfleur for some years and advising Monet then.
1900 - 1920

“I have not been able to see a bit of sea or any water at all; everything is frozen and covered with snow.”

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Claude Monet

in a letter from Sandviken to Gustave Geffroy, 26 February 1895 (L. 1274); as cited in: Steven Z. Levine, ‎Claude Monet (1994), Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self. p. 93
1890 - 1900

“My dear Pissarro, Forgive me for not answering your first letter earlier, but I 'm starting to work full steam ahead and have hardly any time. I received your second letter this morning and I see that you are going to great pains on my behalf and getting nowhere: I'm sorry to be giving you so much trouble; so drop the whole thing, and I'll ask Durand-Ruel if he could see to it for me, he might be able to get rid of these damn frames.
I see that you are definitely going to leave that delightful country for good. Where are you going to, Paris or Louveciennes? I hope you'll write and let me know…”

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Claude Monet

in a letter from Zaandam, The Netherlands, to Camille Pissarro (still in England), 17 June 1871; Cited in: Marianne Alphant (1994), Claude Monet en Holland, p. 87
1870 - 1890

“Once settled, I hope to produce masterpieces, because I like the countryside very much.”

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Claude Monet

in a letter to Paul Durand-Ruel: as quoted in: Daniel Wildensteijn "Monet's Giveny" in: Monet's Years at Giverny: Beyond Impressionism http://books.google.nl/books?id=H76Nl_fNgOUC, (1978) p. 16: About the countryside in Giverny
1870 - 1890

“The sea is superb, but the cliffs don't match up to those at Fecamp. Here I'll be certain to do more boats.”

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Claude Monet

in his letter from Dieppe; as quoted in: Howard F. Isham (2004) Image of the Sea: Oceanic Consciousness in the Romantic Century. p. 336 : About his 1880s travels
1870 - 1890

“You know the affection I have always had for you Boudin and also the gratitude. I have never forgotten that you were the first who taught me to see and to comprehend.”

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Claude Monet

Quote in a letter to Boudin, 1892; as cited in Monet and His Muse: Camille Monet in the Artist's Life, Mary Mathews Gedo; University of Chicago Press, Sept. 2010, p. 10
1890 - 1900

“One day Eugène Boudin said to me, '.. appreciate the sea, the light, the blue sky'. I took his advice and together we went on long outings during which I painted constantly from nature. This was how I came to understand nature and learned to love it passionately.”

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Claude Monet

as quoted in Discovering Art, – The life time and work of the World’s greatest Artists, MONET; K.E. Sullivan, Brockhamptonpress, London 2004, p. 10
after Monet's death

“It's quite beyond my powers at my age, and yet I want to succeed in expressing what I feel.”

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Claude Monet

his remark in 1908; as quoted in The Private Lives of the Impressionists Sue Roe; Harper Collins Publishers, New York, 2006, p. 269
1900 - 1920

“Zaandam is particularly remarkable and there is enough here to paint for a life-time.”

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Claude Monet

Quote of 1871, in Monet's letter to Camille Pissarro, 2 June 1871; as cited in Van Gogh Museum Journal 2001 http://www.dbnl.org/tekst/_van012200101_01/_van012200101_01_0012.php Van Gogh Museum, Amsterdam 2001. p. 140
1870 - 1890