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We should welcome artists to our shores because this is a haven, isn't it? It's got a big iron lady out there in the sea there saying welcome to the shore and they were trying to kick me out: it's ridiculous when you look back on it, because the most I could have done was gather a big gang of demonstrators together which the police could have shot, so what were they complaining about?

When I got back [from Le Havre], where I had made several sketches of the harbour exit, I thought of placing the sun in the background. I liked the picture so much that I painted it ten times over, with its three-master and its sun.

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The Dupré's [pictures] are superb and there's a Daubigny.. ..that I couldn't get enough of. The same goes for a small Corot [probably Corot's painting 'Pond at Ville-d'Avray',] a stretch of water and the edge of a wood on a summer morning about 4 o'clock. A single small pink cloud indicates that the sun will come up in a while. A stillness and calm and peace that enchants one.

People love mystery, and that is why they love my paintings.

I always paint those vast sandy expanses that go as far as the eye can see. I don't know why; I have never been in North Africa. I suppose it's an atavism of the Arab blood.

I'll paint you moments of gold, I'll spin you Valentine evenings...

And then the spring of '48 I toddled off to Paris on a Liberty ship.. .Yes, and arriving in Le Havre on that Liberty ship and seeing all those—the sun was coming up—and seeing all those ships sunk.. It was hardly.. .I mean, war, war, war, war... .I went to Paris, and I stayed with Zuka and Louis [Mitelberg] [her husband then, the cartoonist 'Tim']. And I looked for a place—and found it on Rue Gallande. Across the river was Notre Dame. That was all of four dollars a month, with a hole on the stairs as a toilet and a spigot with cold water and one light-bulb. That was all the electricity there was. But this view, I mean, God!.. .Saint Julien le Pauvre [Greek Orthodox Church, oldest in Paris] was right in front of me. And so I painted there.

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The peasants have their painters, Millet, Jaque, Breton; and that is a good thing.. ..Well and good: but between you and me, the bourgeois walking along the jetty towards the sunset, has just as much right to be caught on canvas, 'to be brought to the light'.. .They too are often resting after a day's hard work, these people who come from their offices and from behind their desks.. .There's a serious and irrefutable argument.

I can never get over when you’re on the beach how beautiful the sand looks and the water washes it away and straightens it up and the trees and the grass all look great. I think having land and not ruining it is the most beautiful art that anybody could ever want to own.

They very often would let me paint, you know, instead of doing some of the other lessons, because I didn't speak English well enough. So I had a lot of painting. And I brought the paintings home with great pride, and my mother kept them for years, so I do know that I sort of…That was a place that I actually remember the smell of those materials and the texture of the surfaces and just, you know, kind of having this real visceral love of moving that color around -- which is, I think, you know, I still have that…

I can never get over when you're on the beach how beautiful the sand looks and the water washes it away and straightens it up and the trees and the grass all look great. I think having land and not ruining it is the most beautiful art that anybody could ever want to own.

One day, while I was painting a landscape in the neighbourhood of Algiers [March 1881] I saw a man approaching who seemed to be dressed in purple and cloth-of-gold.. .When the traveler reached me, my illusion vanished; my emir was nothing but a flea-bitten beggar. The sun, the divine sun had enriched him with its light.. .It's always the same in Algeria. The magic of the sun transmutes the palm-trees into gold, the water seems full of diamonds and men become the Kings from the East.

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