Auguste Renoir Quotes
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I've known painters who never did any good work because instead of painting their models they seduced them.
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Berthe Morisot was a painter full of eighteenth-century delicacy and grace; in a word, the last elegant and 'feminine' artists since Fragonard.
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He bores me. He ought to have stuck to his flying machine. [On Leonardo Da Vinci]
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And if out of a million visitors there is even one to whom art means something, that is enough to justify museums.
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One can thus state, without fear of being wrong, that every truly artistic production has been conceived and executed according to the principle of irregularity.
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It is impossible to repeat in one period what was done in another.The pointof view isnotthesame, anymorethan are the tools, the ideals, the needs, or the painters' techniques.
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The only reward one should offer an artist is to buy his work.
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There are quite enough unpleasant things in life without the need to manufacture more.
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I had wrung impressionism dry and I finally came to the conclusion that I know neither how to paint nor how to draw.
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The simplest subjects are the immortal ones.
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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.
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A painter who has the feel of breasts and buttocks is saved.
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The advantage of growing old is that you become aware of your mistakes more quickly.
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Art is about emotion; if art needs to be explained it is no longer art.
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It is after you have lost your teeth that you can afford to buy steaks.
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People love to be nice, but you must give them the chance.
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I arrange my subject as I want it, then I go ahead and paint it, like a child.
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There are some things in painting which cannot be explained, and that something is essential.
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I need to feel the excitement of life stirring around me, and I will always need to feel that.
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With a limited palette, the older painters could do just as well as today what they did was sounder.
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If the painter works directly from nature, he ultimately looks for nothing but momentary effects; he does not try to compose, and soon he gets monotonous.
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When I've painted a woman's bottom so that I want to touch it, then [the painting] is finished.
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What I like so much about Corot is that he can say everything with a bit of tree; and it was Corot himself that I found [back] in the museum of Naples - in the simplicity of the work of Pompeii and the Egyptians. These priestesses in their silver-grey tunics are just like Corot's nymphs.
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It's with my brush that I make love.