Top 15 Pierre-Auguste Renoir Quotes

It gives my brain a rest, painting flowers. I don't feel the same tension as when I have a model in front of me. When I paint flowers, I put on colours and try out values boldly, without worrying about wasting a canvas. I wouldn't dare to do it with a figure; I'd be afraid of spoiling the whole thing. And the experience I gain this way is then applied to my pictures.

Landscapes are useful to a figure painter, too; out-of-doors one uses colours one would never think of in the weaker studio light. But landscape painting is a thankless job; you waste half a day for the sake of one hour's painting. You only finish one painting out of ten, because the weather keeps changing. You start work on a sunlight effect and it comes on to rain – or you had a few clouds in the sky, and the wind blows them away. It's always the same story!

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.

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.

Berthe Morisot was a painter full of eighteenth-century delicacy and grace; in a word, the last elegant and 'feminine' artists since Fragonard.

I wanted to tell you that in about 1883 there occurred a kind of break in my work. I had got to the end of 'Impressionism', and I had come to the conclusion that I didn't either how to paint or how to draw. In short, I had come to a dead end.

What a charming girl! And what a skin! She positively radiated light around her.

I can manage very well with the first grubby backside [of the model] which comes along – provided I find a skin which takes the light well.

They've found fault with me enough, in all conscience, for putting violet shadows on bodies.

People will keep on taking them for theorists, when all they wanted was to paint in gay, bright colours, like the old masters.

It was a perpetual holiday – and what an assortment of people. You could still enjoy yourself in those days! Machinery didn't take up the whole of life; there was time for living, and we made the most of it.. .I found as many magnificent girls to paint as I wanted; in those days one wasn't reduced to following a little model around for an hour and then being treated as a disgusting old man at the end of it.

He Corot was always surrounded by a crowd of fools and I didn't want to get caught up in it. I admired him from a distance.

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.

I would never have taken up painting if women did not have breasts.

..not exactly prostitutes, but a class of unattached young women, characteristic of the Parisian scene before and after the Empire, changing lovers easily, satisfying any whim, going nonchalantly from a mansion in the Champs-Elyseées to a garret in the Batignolles. [describing the place w:Bain à la Grenouillère at Croissy-sur-Seine and the women there, where Renoir together with Monet painted in open air and used them as models in their paintings 'la Grenouillère', 1868-69]