Impressionism is the newspaper of the soul.
For an Impressionist to paint from nature is not to paint the subject, but to realize sensations.
Impressionism means taking inspiration directly from nature, trusting your senses rather than what you think you know.
It isn't an easy job to paint oneself - at any rate if it is to be different from a photograph. And you see - this, in my opinion, is the advantage that impressionism possesses over all the other things; it is not banal, and one seeks after a deeper resemblance than the photograph.
A good impression is lost so quickly.
It took some time before the public learned that to appreciate an Impressionist painting one has to step back a few yards, and enjoy the miracle of seeing these puzzling patches suddenly fall into one place and come to life before our eyes.
Drawing is not what you see but what you must make others see.
I do not literally paint that table, but the emotion it produces upon me.
Impressionism; it is the birth of Light in painting.
The true impressionism is realism. So many people do not observe.
To my mind, a picture should be something pleasant, cheerful, and pretty, yes pretty! There are too many unpleasant things in life as it is without creating still more of them.
No, mes amis, impressionism is not charlatanry, nor a formula, nor a school. I should say rather it is the bold resolve to throw all those things overboard.
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.
Art, to me, is the interpretation of the impression which nature makes upon the eye and brain.
Impressionism came about because it suddenly became apparent that pure colours mix in the eye in a more dazzling way than they have ever been mixed in paint.
Art, to me is the interpretation of the impression which nature makes upon the eye and brain. The word 'Impressionism' as applied to art has been abused, and in the general acceptance of the term has become perverted. [...] The true impressionism is realism. So many people do not observe. They take the ready-made axioms laid down by others, and walk blindly in a rut without trying to see for themselves.
What I am after is the first impression - I want to show all one sees on first entering the room - what my eye takes in at first glance.
Impressions are like pearls; ideas are like the string that turns the pearls into a necklace. The string is invisible, but it is not dispensable and cannot be broken.
All inspired painters are impressionists, even though it be true that some impressionists are not inspired.
A young painter who cannot liberate himself from the influence of past generations is digging his own grave.
After 1909, Monet drastically enlarged his brushstrokes, disintegrated his images, and broke through the taming constraints and delicacy of Impressionism for good. Nineteen gnarly paintings, starting in 1909 and carrying through his final seventeen years, finish off the notion that Monet went happily ever after into lily-land.
The word 'impressionism' as applied to art has been abused, and in the general acceptance of the term has become perverted.
On the other hand, the artist has much to do in the realm of color construction, which is so little explored and so obscure, and hardly dates back any farther than to the beginning of Impressionism.
The most authentic Russian Impressionism leaves one perplexed if one compares it with Monet and Pissarro. Here, in the Louvre, before the canvases of Manet, Millet and others, I understood why my alliance with Russia and Russian art did not take root.
About 1883 something like a break occurred in my work. I had reached the end of 'impressionism,' and I had come to realize that I did not know how to paint or draw.
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