Edgar Degas Quotes

I put it [a still life of a pear, made by Manet there [on the wall, next to Ingres' painting 'Jupiter'], for a pear like that would overthrow any god.

What a delightful thing is the conversation of specialists! One understands absolutely nothing and it's charming.

Art is not what you see but what you make others see

I will not admit that a woman can draw like that.

It is very good to copy what one sees; it is much better to draw what you can't see any more but is in your memory. It is a transformation in which imagination and memory work together. You only reproduce what struck you, that is to say the necessary.

There is a kind of success that is indistinguishable from panic.

Drawing is not what you see but what you must make others see.

We also consider that Miss Berthe Morisot's [woman painter in French Impressionism who got later married with a brother of Eduard Manet] name and talent are too important to us to do without. [Degas is referring to her participation in the first Impressionist's show he was preparing, then; he was in strong opposition to Eduard Manet who wanted to exclude Berthe Morisot)

It seems to me that today, if the artist wishes to be serious — to cut out a little original niche for himself, or at least preserve his own innocence of personality — he must once more sink himself in solitude. There is too much talk and gossip; pictures are apparently made, like stock-market prices, by competition of people eager for profit; in order to do anything at all we need (so to speak) the wit and ideas of our neighbors as much as the businessmen need the funds of others to win on the market. All this traffic sharpens our intelligence and falsifies our judgment.

I should like to be famous and unknown.

Women can never forgive me; they hate me, they feel I am disarming them. I show them without their coquetry.

A man is an artist only at certain moments, by an effort of will. Objects have the same appearance for everybody.

..women... ...their way of observing, combining, sensing the way they dress. They compare a thousand of more visible things with one another than a man does.

Visitor: Monsieur Degas, were there any of Monet's pictures at the Durand-Ruel exhibition?
Degas: Why, I met Monet himself there, and I said to him, 'Let me get out of here. Those reflections in the water hurt my eyes!' His pictures were always too draughty for me. If it had been any worse I should have had to turn up my coat collar.

In the office there are about fifteen people whose attention is directed toward a table covered with the costly fabric [raw cotton]; one man is bent over the table and another is sort of seating on it – the buyer and the broker are discussing a sample. A painting of a vernacular subject, if there is such a thing, and I think by a better hand than most others (a size 40 canvas, I think). I'm planning another less complicated and more surprising yet, better art, in which everyone is in summer dress, the walls white, and a sea of cotton on the tables. (translation based on M. Kay's, in M. Gérin [ed.] and M. Kay, transl. 'Degas letters', Oxford, 1947, pp. 29-30, no. 2