Camille Pissarro Quotes

Each one of us [artists] has several facets. The surface often appears more important than what is inside, hence the errors of those who judge carelessly. How many times has that not happened to me! The surface is often complete in some people from the very beginning, but not the possession of their own sensations. From this come errors. Some natures achieve the surface very slowly j this is the least danger an artist runs. So one should not think of the surface or the appearance, but concentrate on what is inner!

I hope that with the help of van Van Gogh and Durand we will be able to emerge from this situation [selling nothing]. It seems to me that I deserve no less, since I have worked conscientiously. I do not believe that anyone could devote - if not more talent - more care and good will to the service of his art; it takes me hours of reflection to decide on the slightest detail. Is this impatience?.. .I think not! For I do not wish to make a brush stroke when I do not feel complete mastery of my subject, there's the rub - that is the great difficulty; without sensation, nothing, absolutely nothing valid.. .I believe I have hit my stride. I have begun a series of things which will really be in my style.

Bracquemond tells me that he looked attentively at my works at our exhibition. Far from objecting to them, as I expected, he said they were compactly drawn, and modeled, but he is shocked by the dots; he enjoined me to stick to divisionism but not to use the dot. - I said nothing to him of our experiments. He told me that of all the impressionist painters he liked my work best; this was not the first time he had said this; to each one his own taste. He does completely accept my view that the old disorderly method of execution has become impossible.

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..

The ones [compliments] I value most came from Edgar Degas who said he was happy to see my work becoming more and more pure. The etcher Bracquemond, a pupil of Ingres, said - possibly he meant what he said - that my work shows increasing strength. I will calmly tread the path I have taken, and try to do my best. At bottom, I have only a vague sense of its rightness or wrongness. I am much disturbed by my unpolished and rough execution. I should like to develop a smoother technique which, while retaining the old fierceness, would be rid of those jarring notes which make it difficult to see my canvases clearly except when the light falls in front. There lies the difficulty - not to speak of drawing.

Lighten your palette [his remark to Cézanne circa 1873, to encourage Cézanne to use bright colors], paint only with the three primary colours and their derivatives.

Renoir is a great success on the Salon; I think he is 'launched'. All the better! It's a very hard life, being poor.

My theory has been to discover the modern synthesis by methods based upon science, methods based upon the theory of colors discovered by M. Chevreul, in conformity with the experiments of Maxwell and the measurements of N. 0. Rood; to substitute the optical mingling for the mingling of pigments; in other words, the decomposition of all the colors into their constituent elements; because the optical mingling excites much more intense luminosity than the mingling of pigments. As for the execution, we regard it as nothing; it is at any rate only unimportant, art having nothing to do with it. According to us, the sole originality consists in the character of the drawing and the vision individual to each artist.

Yesterday I had a violent run-in with M. Eugene Manet on the subject of Seurat and Paul Signac. The latter was present, as was Guillaumin. You may be sure I rated Manet roundly. - Which will not please Renoir. - But anyhow, this is the point, I explained to M. Manet, who probably didn't understand anything I said, that Seurat has something new to contribute which these gentlemen, despite their talent, are unable to appreciate, that I am personally convinced of the progressive character of his art and certain that in time it will yield extraordinary results. Besides I am not concerned with the appreciation of artists, no matter whom. I do not accept the snobbish judgments of "romantic impressionists" to whose interest it is to combat new tendencies. I accept the challenge, that's all..

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..

This Mr. Dewhurst has not understood the Impressionist movement in the very least. All he sees in it is a technical method.. .He also says that before going to London we knew nothing whatsoever about light; but we have studies that prove the contrary. He omits the influence of , Corot, all the 18th-century painters, Chardin most of all. But what he fails to realize is that while Turner and Constable were of service to us, they confirmed our suspicion that those painters had not understood 'The Analysis of Shadows', which in the case of Turner are always a deliberate effect, a plain dark patch. As to the division of tones, Turner confirmed us its value as a method, but not as a means of accuracy or truth to nature. In any case, the 18th century was our tradition. It seems to me that Turner too, had looked at Claude Lorrain. I am even inclined to think there is a picture by Turner, 'Sunset', hung side by side with a Claude.

The next day he [uncle Alfred] took me to hear the 'Concert Colonne' at the Chatelet. First we lunched and then went to the hall. There was a fine program! Schumann, Bizet (new to me), Berlioz (ditto). - I can scarcely express how I marveled at the Hamlet and Romeo et Juliette of Berlioz. - He belongs with Delacroix, with Shakespeare, he is of the same family, he has the mark of these men of genius. He is prodigious in movement, imagination, strangeness, vigor, delicacy, sense of contrast, he is terrible and suave.

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.

Work at the same time upon water, sky, branches, ground, keeping everything going on an equal basis and unceasingly rework until you have got it. Paint generously and unhesitatingly, for it is best not to lose the first impression.

I work mostly in the studio; as I mentioned several times, the leaves are burgeoning and change so rapidly that I have been unable to prepare a single sketch. I am making little watercolors and pastels, I think they will come out all right; in the studio I am preparing five or six canvases, I work on one after another, I am getting used to working that way.