Berthe Morisot Quotes

I have had three masters, Nature, Velasquez, and Rembrandt.

I do have a dream, a tableau of the bathing place of La Grenouillère, for which I've done some bad pochades (sketches), but it is a dream. Renoir, who have just spent a couple of months here, also wants to paint this subject.

The dimensions of a work of art are seldom realized by the author until the work is accomplished. It is like a flowering dream. Ideas grow, budding silently, and there are a thousand illuminations coming day by day as the work progresses. A seed grows in writing as in nature. The seed of the idea is developed by both labor and the unconscious, and the struggle that goes on between them.

I was a student, and as such you generally rely on prior models of how to make art, but these were not satisfying. Then I discovered in photos what had been missing in paintings; namely that they make a terrific variety of statements and have great substance. That is what I wanted to convey to paintings and apply to it.

All artists dream of a silence which they must enter, as some creatures return to the sea to spawn.

If I don't have anything better to do that day, I'll copy paintings, generally by people who have some relationship to the work of the moment.

There is something abominable about cameras, because they possess the power to invent many worlds. As an artist who has been lost in this wilderness of mechanical reproduction for many years, I do not know which world to start with. I have seen fellow artists driven to the point of frenzy by photography.

My first sense of myself was as an artist, a painter. I would see a Van Gogh painting and just love it, the more emotional and passionate the more it attracted me.

Everyone who enjoys supposes that the tree was concerned with the fruit, but it was really concerned with the seed. -In this lies the difference between all those who create and those who enjoy.

The museums are here to teach the history of art and something more as well, for, if they stimulate in the weak a desire to imitate, they furnish the strong with the means of their emancipation.

My reason for writing stories is to give myself the satisfaction of visualising more clearly and detailedly and stably the vague, elusive, fragmentary impressions of wonder, beauty, and adventurous expectancy which are conveyed to me by certain sights (scenic, architectural, atmospheric, etc.), ideas, occurrences, and images encountered in art and literature.

All you need to paint is a few tools, a little instruction, and a vision in your mind.

I also like different records of mine for creative purposes and metaphorically wise.

Picasso had a saying - 'good artists copy, great artists steal' - and we have always been shameless about stealing great ideas.

Each painting, I feel like I kind of might have gotten something. If I feel like I totally got it, there's probably something wrong and it's not finished. And if I really feel like I understand it then I'm done with these paintings and I'll have to do something else.

The artistic impulse seems not to wish to produce finished work. It certainly deserts us half-way, after the idea is born; and if we go on, it is labor.

I have studied the art of the masters and the art of the moderns, avoiding any preconceived system and without prejudice. I have no more wanted to imitate the former than to copy the latter; nor have I thought of achieving the idle aim of art for art's sake.

Be With Me In The Phases Of My Work Because My Brain Feels Like It Has Been Whipped And I Yearn To Make A Small Perfect Thing Which Will Live In Your Morning Like Curious Static Through A President's Elegy Or A Nude Hunchback Acquiring A Tan On The Crowded Oily Beach.

I stand in the mist and cry, thinking of myself standing in the mist and crying, and wondering if I will ever be able to use this experience in a book.

One day, in the San Francisco walk, he came upon some badly painted figures and observed that good painters imitate nature but bad ones vomit it forth.

I'm interested in art, and I think about the process of making art. It's part of my personality, my experience of the world, so it ends up in the movies. It's where my head is.

I'm usually the last to see my influence in other people's work. People give me stuff and say "Oh look, this guy's ripping you off," and I'm like "What do you mean?" Often I see the people that I've ripped off filtered into my own work. In other people's work, I can only see specific, tiny little instances of inflections stolen from another artist.

Theatre artists are essentially sort of charlatans and thieves, I mean that's the tradition that we come from, so I have absolutely no, I make no bones about the fact that I steal from here and I take from there, and we all do it, that's perfectly all right, that's the nothing, there's nothing new in the world, there's nothing actually new in the way that you do something, but the point is is how do you take something and use it to articulate what is essentially a core of any given theatrical production.

I feel ever so strongly that an artist must be nourished by his passions and his despairs. These things alter an artist whether for the good or the better or the worse. It must alter him. The feelings of desperation and unhappiness are more useful to an artist than the feeling of contentment, because desperation and unhappiness stretch your whole sensibility.

I'd always hoped to write the story as a novel, but there was a long period when the [Bridget Jones's Baby: The Diaries] movie was stalled and in confusion. I felt frustrated creatively, and just couldn't work on the Baby material till the movie was sorted out.