Frases de Claude Monet (100 citas, página 3)

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

“My dear Hoschedé, I do not know if in Paris it is the same weather as here, it is probable and so you will be able to understand my discouragement. I am heartbroken, and I absolutely must share with you all my disillusionment; for nearly two months, I have given myself a lot of trouble without result. You do not believe it perhaps, but it is so: I have not lost an hour and would have reproached myself to have taken even a day to come see our exhibition, just out of the fear of losing a single good painting session, an hour of sun. I alone can know my anxieties and the trouble that I give myself to finish canvases that don't even satisfy me and please so few people. In a word, I am absolutely discouraged, not seeing, not hoping in any future... I feel all too well the void that is being made around me and the impossibility of facing up to my part of our expenses if we were to continue living together... I see everything in black, in pain... Please believe all the sorrow that I have in causing you trouble.”

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Claude Monet

In a letter to Ernest Hoschedé, May 15, 1879 (W, letter, 158); as cited in: Mary M. Gedo (2013) Psychoanalytic Perspectives on Art. p. 123
1870 - 1890

“To me the motif itself is an insignificant factor; what I want to reproduce is what lies between the motif and me... Other painters paint a bridge, a house, a boat... 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.”

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Claude Monet

Claude Monet, in an interview, 1895; as quoted in: Paul Hayes Tucker et al. (eds). (1999) Monet in the Twentieth Century. London: Royal Academy of Arts/Boston: Museum of Fine Arts. As cited in: Steven Connor, " About There, or Thereabouts http://www.stevenconnor.com/aboutthere/aboutthere.pdf." talk given at the Catalysis conference on Space and Time, Downing College, Cambridge, 23rd March 2013.
1890 - 1900

“There at the moment in Honfleur... Boudin and Jongkind are here; we get on marvelously. There's lots to be learned and nature begins to grow beautiful... I shall tell you I'm sending a flower picture to the exhibition at Rouen; there are very beautiful flowers at present.”

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Claude Monet

in a letter to Frédéric Bazille; as cited in: Edward B. Henning, Cleveland Museum of Art. Creativity in art and science, 1860-1960. (1987), p. 95
1850 - 1870

“I hired a good carriage and had myself driven to Menton, a delightful outing of several hours. Menton is wonderful and is in a splendid setting. I walked to Cap Martin, a famous spot between Menton and Monte Carlo. I saw two motifs there that I want to paint because they are so different from things here, where the sea plays no big part in my studies, where the sea plays no big plays no big part in my studies.”

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Claude Monet

in a letter to his second wife Alice Hoschedé, 1884; as cited in: Christoph Heinrich, Monet, (2000), p. 64
1870 - 1890

“I was completely ignorant of the poetry of Poe; it is admirable, it is poetry itself, the dream, and how one feels that you have translated its soul! I am no more than a completely illiterate ignoramus, but am not any the less moved by it. I knew only Poe's prose, which I had read and admired very young before I had heard it spoken of, but how your poems complete and express the man he was”

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Claude Monet

in his letter, 15 February 1889, (L. 911); as cited in Steven Z. Levine, ‎Claude Monet (1994), Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self. p. 93
1870 - 1890

“I'm half an hour late, I'll come back tomorrow.”

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Claude Monet

after Monet's death

“I am in a very black mood and profoundly disgusted with painting. It really is a continual torture! Don't expect to see anything new, the little I did manage to do has been destroyed, scraped off, or torn up. You've no idea what appalling weather we've had continuously these two past months. When you're trying to convey the weather, the atmosphere and the general mood, it's enough to make you mad with rage.”

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Claude Monet

Quote from Monet's letter to art-critic and his friend Gustave Geffroy, Giverny 1890; as cited in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 56
1890 - 1900

“I am surrounded by a small group of young landscapists who will be very happy get to know you. Besides, they are real painters… I find myself very well fixed here. I am drawing figures at hard. And at the Academy, there are only landscapists. They begin to perceive that it's a good thing.”

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Claude Monet

Quote of Monet, 1859 in a letter to his mentor Eugène Boudin; as cited in: John Rewald (1961) The History of Impressionism - Volume 1. p. 48
1850 - 1870

“Though I remained insensitive to the subtleties and delicate gradations of colour.... my eyes at least did not deceive me when I drew back and looked at the subject in its broad lines, and this was the starting-point of new compositions... Slowly I tried my strength in innumerable rough sketches which convinced me... I could see as clearly as ever when it came to vivid colours isolated in a mass of dark tones. How was I to put this to use? My intentions gradually became clearer... I said to myself, as I made my sketches, that a series of general impressions, captured at the times of day when I had the best chance of seeing correctly, would not be without interest. I waited for the idea to consolidate, for the grouping and composition of the themes to settle themselves in my brain little by little, of their own accord; and the day when I felt I held enough cards to be able to try my luck with a real hope of success, I determined to pass to action, and did so.”

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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, p. 132
1900 - 1920

“I am distressed, almost discouraged, and fatigued to the point of slightly ill... Never have I been so unlucky with the weather. Never three suitable days in succession, so I have to be always making changes [in his paintings] for everything is growing and turning green. And I have dreamed of painting the Creuse [river in the South of France] just as we saw it... In short, by dint of changes I am following Nature without being able to grasp her, and then there is that river that shrinks, swells again, green one day, then yellow, sometimes almost dry, and which tomorrow will be a torrent, after the terrible rain that is falling at the moment. In fact, I am very worried. Write to me; I have a great need of comfort.”

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Claude Monet

In his letter from Normandy to art-critic and friend Gustave Geffroy, 24 April 1889; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 129
1870 - 1890

“I won't be here long, I am working as hard as I can, as I told you [in a letter] yesterday, I am very happy to be here Etretat, Normandy] and I hope to come up with something good, in any case I will bring lots of studies back with me so I can work on some big things at home.”

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Claude Monet

Quote in Monet's letter from Etretat to his second [future] wife Alice Hoschedé, 1883; as cited in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 51
1870 - 1890

“I can no longer work outside because of the intensity of the light.”

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Claude Monet

in the Summer of 1920, to Gustave Geffroy. Monet in the 20th Century, by Paul Hayes Tucker.
1920 - 1926

“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.”

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Claude Monet

Quote, Jan. 1921, to journalist Marcel Pays. Monet in the 20th Century, by Paul Hayes Tucker.
1920 - 1926

“It is beautiful here [in Etretat, Normandy], my friend; every day I discover even more beautiful things. It is intoxicating me, and I want to paint it all - my head is bursting.... I want to fight, scratch it off, start again, because I start to see and understand. I seems to me as if I can see nature and I can catch it all.... it is by observation and reflection that I discover how. That is what we are working on, continuously..”

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Claude Monet

Quote of Monet, 1864 in a letter to his friend Frédéric Bazille; as cited in Monet's landschappen Vivian Rusell; Icob, Alphen aan de Rijn, The Netherlands 2010, p. 12
1850 - 1870

“.. learn to draw: that's where most of you [Troyon's pupils] are falling down today…. draw with all your might; you can never learn to much. However, don’t neglect painting, go to the country from time to time and make studies and above all develop them..' [Monet is quoting in his letter Troyon, a friend of Boudin in Paris]”

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Claude Monet

in a letter to , 1859; as quoted in Discovering Art, – The life time and work of the World's greatest Artists, MONET; K.E. Sullivan, Brockhamptonpress, London 2004, p. 11
1850 - 1870

“Nothing in the whole world is of interest to me but my painting and my flowers.”

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Claude Monet

his remark, shortly after the death of his second wife Alice in 1911; as quoted in: K.E. Sullivan Monet: Discovering Art, Brockhampton press, London (2004), p. 76
1900 - 1920

“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 air and the light which vary continually. For me, it is only the, surrounding atmosphere which gives subjects their true value.”

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Claude Monet

Claude Monet, 1891; as cited in: National Gallery of Australia, ‎Michael Lloyd, ‎Michael Desmond (1992), European and American paintings and sculptures 1870-1970 in the Australian National Gallery, p. 75
1890 - 1900

“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.”

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Claude Monet

Quote of Claude Monet (1909), as cited in: Sarah Walden (1985) The ravished image, or, How to ruin masterpieces by restoration, p. 67
1900 - 1920

“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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Claude Monet

As quoted in Claude Monet: Les Nymphéas (1926) by Georges Clemenceau, Ch. 2.
1920 - 1926

“I felt the need, in order to widen my field of observation and to refresh my vision in front of new sights, to take myself away for a while from the area where I was living, and to make some trips lasting several weeks in Normandy, Brittany and elsewhere..”

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Claude Monet

Quote of Monet in his letter to François Thiébault-Sisson (1856-1936); as cited in: Howard F. Isham (2004) Image of the Sea: Oceanic Consciousness in the Romantic Century. p. 336 : About his 1880s travels
after Monet's death

“Ninety percent of the theory of Impressionist painting is in.... Ruskin's Elements.”

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Claude Monet

Quote attributed to Claude Monet, talking to a British journalist in 1900, by Wynford Dewhurst in 'What is impressionism?', Contemporary Review, March 1991; Cited in: John Ruskin (2012) The Elements of Drawing. p. viii
1900 - 1920

“I am working as hard as I possibly can, and do not even dream of doing anything except the cathedral. It is an immense task.”

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Claude Monet

in a letter from to his art-dealer Durand-Ruel, 30 March 1893; as quoted in: Christoph Heinrich (2000), Monet, p. 57
1890 - 1900

“Among Troyon's paintings there are two huge ones; Return to the Farm is marvelous with its beautiful stormy sky. There is much windy motion in the clouds, and the cows and dogs are very good. In Going to the Market you see the mist at sunrise. It's superb and, most of all, very luminous. The wide space in View from Surennes is amazing. You feel you are really in the countryside.”

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Claude Monet

1859 letter to Eugène Boudin, June 3, 1859; as cited in Rodolphe Rapetti (1990) Monet, p. 11
Monet wrote Boudin this letter just after he visited the 1859 Salon.
1850 - 1870

“Impressionism is only direct sensation. All great painters were less or more impressionists. It is mainly a question of instinct, and much simpler than Sargent thinks. But he went on to agree that impressionists had noted how strong”

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Claude Monet

Quote of Monet; as cited in Stephen Lucius Gwynn Claude Monet and His Garden: The Story of an Artist's Paradise, Macmillan, 1934, p. 69: Comment by Monet to the English biographer Sir Evan Charteris.
after Monet's death

“I am working from morning to evening, brimming with energy.. I'm fencing and wrestling with the sun. And what a sun it is! In order to paint here, one would need gold and precious stones. It is quite remarkable.”

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Claude Monet

Quote in a letter from Cote d'Azure to sculptor and friend Auguste Rodin, 1 February 1888; as cited in R. Gordon and A. Forge (1983), Monet, p. 123
1870 - 1890

“It seems to me, when I see nature, that I see it ready made, completely written — but then, try to do it! All this proves that one must think of nothing but them [impressions]; it is by dint of observation and reflection that one makes discoveries.”

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Claude Monet

2 quotes in Monet's letter to Frédéric Bazille from Honfleur, July 15, 1864; as cited in Mary M. Gedo (2013) Psychoanalytic Perspectives on Art. p. 114-15 / p. 60
1860s