Camille Pissarro Quotes

Sisley, I hear, is seriously ill. He is a great and beautiful artist, in my opinion he is a master equal to the greatest. I have seen works of his of rare amplitude and beauty, among others an 'Inundation' [in the Camondo collection], which is a masterpiece.

I will have to leave for Paris as soon as you return. I did two drawings [black on paper] with pen and in little dots - a 'Little Market' and a 'St. Martin (Pig dealers)'. It would be a good thing if I could sell them to some newspaper, that would bring us a few pennies.. .I still don't know what I am going to do, for Heymann seems completely indifferent. He probably knows my position and naturally is waiting for me to reduce my prices, just as Durand did last time.. .If we could place these we could get a few cents while waiting for this terrible month of January to pass.. .These drawings matted look very well.

I am hard at work, at least I work as much as the weather permits. - I began a work the motif of which is the river bank in the direction of St. Paul's Church. Looking towards Rouen I have before me all the houses on the quays lighted by the morning sun, in the background the stone bridge, to the left the island with its houses, factories, boats, launches, to the right a mass of pinnaces of all colors.. .Yesterday, not having the sun, I began another work on the same motif in grey weather, only I looked more to the right . I must leave you for my motif. I have a room on the street. I shall start on a view of the street in fog for it has been foggy every morning until eleven o'clock—noon. It should be interesting, the square in the fog, the tramways, the goings and comings..

Durand likes my paintings, but not the style of execution. His son, the one who went to New York with him, saw them but has not said a word to me. - Durand prefers the old execution, however he grants that my recent paintings have more light - in short, he isn't very keen. My 'Grey Weather' doesn't please him; his son and Caseburne [Durand's cashier] also dislike it.. .It appears that the subject is unpopular. They object to the red roof and backyard just what gave character to the painting which has the stamp of a modern primitive, and they dislike the brick houses, precisely what inspired me..

Work is a wonderful regulator of mind and body. I forget all sorrow, grief, bitterness, and I even ignore them altogether in the joy of working.

I well remember that around 1874, Duret, who is above reproach, Duret himself said to me with all sorts of circumlocutions that I was on the wrong track, that everyone thought so, including my best friends.. .I admit that when alone, with nobody to prompt me, I reproached myself similarly, - I plumbed myself, - decision was terribly hard. - Should I, yes or no, persevere [or seek] another way? I concluded in the affirmative, I took into account the risks of the unknown, and I was right to stick.

I am settled in France, and as for the rest of my history as a painter, it is bound up with the impressionistic group.

I have had a long talk with Renoir. He admitted that the whole crowd – Durand and his former admirers – were shouting at him, deploring his attempt to abandon his 'Romantic' period. He seems very sensitive to what we think of his exhibition. I told him that as far as we were concerned, the search for unity should be the aim of every intelligent artist. – that even in spite of serious faults, it was more intelligent and artistic than wallowing in romanticism.

[ Seurat's pointilist style ].. ..inhibits me and hinders the development of spontaneity of sensation.

Tell [Père] Tanguy to send me some paints. What I need most are ten tubes of white, two of chrome yellow, one bright red, one brown lac, one ultramarine, five Veronese green, one cobalt j I have on hand only one tube of white ... I expect to begin to paint again from nature, and I need the colors.

It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.. .So much the better if it is painful for you to take even the first step, the more toilsome the work, the stronger you will emerge from it.. .I repeat, guard against facility.

advice to a young painter, (1896); as quoted in Painting Outside the lines, Patterns of Creativity in Modern Art, ed. David W. Galenson, Harvard University Press, 30 Jun 2009, pp. 84-85, note 40.

..I saw Gauguin; he told me his theories about art and assured me that the young [artists] would find salvation by replenishing themselves at remote and savage sources. I told him that this art did not belong to him, that he was a civilized man and hence it was his function to show us harmonious things. We parted, each unconvinced. Gauguin is certainly not without talent, but how difficult it is for him to find his own way! He is always poaching on someone's ground; now he is pillaging the savages of Oceania.

Never paint except with the three primary colors [red, blue, and yellow] and their derivatives.

One can do such lovely things with so little. Subjects that are too beautiful end by appearing theatrical – take Switzerland, for example. Think of all the beautiful little things Corot did at Gisors; two willows, a little water, a bridge, like the picture in the Universal Exhibition. What a masterpiece!.. .Everything is beautiful, all that matters is to be able to interpret.