Pierre-Auguste Renoir Quotes
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The simplest subjects are the immortal ones.
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We are in a period of searchers rather than of creators.
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I've spent my life making blunders.
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One must from time to time attempt things that are beyond one's capacity.
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I have no rules and no methods... no secrets.
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There are two indices of genuine art: it is inimitable and it is ineffable.
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In a few generations you can breed a racehorse. The recipe for making a man like Delacroix is less well known.
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A painter who has the feel of breasts and buttocks is saved.
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An artist, under pain of oblivion, must have confidence in himself, and listen only to his real master: Nature.
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White does not exist in nature.
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"The work of art must seize upon you...carry you away."
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I have a predilection for painting that lends joyousness to a wall.
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Go and see what others have produced, but never copy anything except nature. You would be trying to enter into a temperament that is not yours and nothing that you would do would have any character.
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I want a red to be sonorous, to sound like a bell. If it doesn't turn out that way, I add more reds and other colors until I get it.
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You've got to be a fool to want to stop the march of time.
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Why shouldn’t art be pretty? There are enough unpleasant things in the world.
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I consider that women who are authors, lawyers, and politicians are monsters.
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They tell you that a tree is only a combination of chemical elements. I prefer to believe that God created it, and that it is inhabited by a nymph.
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If you paint the leaf on a tree without using a model, your imagination will only supply you with a few leaves; but Nature offers you millions, all on the same tree. No two leaves are exactly the same. The artist who paints only what is in his mind must very soon repeat himself.
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I never think I have finished a nude until I think I could pinch it.
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There are quite enough unpleasant things in life without the need to manufacture more.
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My concern has always been to paint nudes as if they were some splendid fruit.
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Nothing costs so little, goes so far, and accomplishes so much as a single act of merciful service.
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One can thus state, without fear of being wrong, that every truly artistic production has been conceived and executed according to the principle of irregularity.
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What seems most significant to me about our movement is that we have freed painting from the importance of the subject. I am at liberty to paint flowers and call them flowers, without their needing to tell a story.
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People will keep on taking them for theorists, when all they wanted was to paint in gay, bright colours, like the old masters.
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The artist who uses the least of what is called imagination will be the greatest.
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Out-of-doors there is a greater variety of light than in the studio, where the light is always the same. But that is just the trouble; one is carried away by the light, and besides, one can't see what one is doing.
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I just keep painting till I feel like pinching. Then I know it's right.
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The so-called 'discoveries' of the Impressionists could not have been unknown to the old masters; and if they made no use of them, it was because all great artists have renounced the use of effects. And in simplifying nature, they made it all the greater.
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