Impressionism Quotes
The best sayings about Impressionism that you can share on Instagram, Pinterest, Facebook and other social networks!
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Painting took on a fabulous strength and splendor; the object was discredited as an indispensable element of the picture.
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Impressionism is the newspaper of the soul.
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All inspired painters are impressionists, even though it be true that some impressionists are not inspired.
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The music began, passages of immense technical complexity fluidly bridging Caravaggio’s chiaroscuro with Renoir’s impressionism. The gloom and shadows of claustrophobic chambers contrasting with the vibrant radiance of a wide-open landscape. The realism of humanity down to its dirty nails and rotten wounds combined with the fleeting sanguinity of the moment.
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For an Impressionist to paint from nature is not to paint the subject, but to realize sensations.
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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.
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Impressionism; it is the birth of Light in painting.
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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.
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Realize the value of putting down your first impression quickly.
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The creative force in man recognizes and records these rhythms with the medium most suitable to him, the object, or the moment, feeling the cause, the life within the outer form. Recording unfelt facts, acquired by rule, results in sterile inventory. To see the Thing Itself is essential: the quintessence revealed direct without the fog of impressionism - the casual noting of the superficial phase, a transitory mood.
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What I am trying to do is something different - an effect of reality, but what some fools call Impressionism, a term that is usually misapplied, especially by the critics who don't hesitate to apply it to Turner, the greatest creator of mysterious effects in the whole world of art.
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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.
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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.
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The true impressionism is realism. So many people do not observe.
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What to paint was a problem for the war artist... the old heroics, the death and glory stuff, were gone forever... the impressionistic technique I had developed was now ineffective, for visual impressions were not enough.
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He had found the thing which the modern people call Impressionism, which is another name for that final scepticism which can find no floor to the universe.
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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.
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Each time I undertake to reread Virginia Woolf, I am somewhat baffled by the signature breathlessness and relentlessly "poetic" tone, the shimmering impressionism, so very different from the vivid, precise, magisterial (and often very funny) prose of her contemporary James Joyce.
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A building is akin to dogma; it is insolent, like dogma. Whether or no it is permanent, it claims permanence, like a dogma. People ask why we have no typical architecture of the modern world, like impressionism in painting. Surely it is obviously because we have not enough dogmas; we cannot bear to see anything in the sky that is solid and enduring, anything in the sky that does not change like the clouds of the sky.
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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.
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Drawing is not what you see but what you must make others see.
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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.
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A good impression is lost so quickly.
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The habit of breaking up one's colour to make it brilliant dates from further back than Impressionism - Couture advocates it in a little book called 'Causeries d'Atelier' written about 1860 - it is part of the technique of Impressionism but used for quite a different reason.
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But when reflexion begins to play upon these objects... like some trick of magic each object is loosed into a group of impressions - colour, odour, texture... And if we continue to dwell in thought on this world... the whole scope of observation is dwarfed into the narrow chamber of the individual mind.
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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.
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The word 'impressionism' as applied to art has been abused, and in the general acceptance of the term has become perverted.
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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.
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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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A one woman cabaret of emotional impressionism
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