Auguste Renoir citáty strana 2

„Umění se učíme v muzeu.“

„Malíř, který má smysl pro ženské tělo, je zachráněn.“

„Bolest pomine, ale krása zůstane.“

„Je mi pořád líp“

„Cílem hereckých zkoušek je, aby se herci vžili do určitého citu.“

poslední slova

“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.”

Auguste Renoir: Citáty anglicky

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

Zdroj: 1880's, Renoir – his life and work, 1975, pp. 156-157 : quote, 1881 on the illusion by sunlight, from Renoir et ses amis, Georges Riviere.

“Give me that palette.... those two woodcocks.... turn this one's head to the left.... give me back my palette.... I can't paint that beak.... Quick, some paint.... change the position of those woodcocks…”

Zdroj: undated quotes, Renoir – his life and work, 1975, p. 175 : Renoir's remarks to Vollard, referring to the delicate painting-style of Berthe Morisot's, the only French woman-artist of Paris Impressionism.

“There is something in painting which cannot be explained, and that something is the essential. You come to Nature with your theories, and she knocks them all flat.”

quote from a letter written by Félix Fénéon, published in 'Le Bulletin des artistes' 15th December 1919
this quote is expressing Renoir's last painter-remark, 30 November 1919, three days before he died.
after 1900

“It [his participating in the 7th exhibition of the Impressionists, combined with showing his work on the official Salon] isn't exactly a joy, but as I have said, it lets me out of the revolutionary side of the business, which I'm nervous of... It's a little weakness which I hope will be forgiven me [by the other impressionists]... Delacroix used to say, quite rightly, that a painter should win as many honours as possible.”

As quoted in Masterpieces of painting from the National Gallery of Art (1944), p. 168
undated quotes

“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.”

Quote of Renoir's letter to Durand-Ruel, end of Feb. 1882; as cited in Renoir – his life and work, Francois Fosca, Book Club Associates /Thames and Hudson Ltd, London 1975, p. 172
1880's

“One morning one of us had run out of black; and that was the birth of Impressionism.”

Zdroj: undated quotes, Renoir – his life and work, 1975, p. 12 : Renoir's remark to Vollard referring to the pre-impressionist landscape-painter Camille Corot.

“Alas I shall very probably not be able to dine with you [madame Charpentier who frequently had receptions in Paris which Renoir frequently visited]. I began a portrait this morning; I begin another this evening, and it is extremely likely that I shall have a third to do afterwards. If I have to stay for dinner, and begin tomorrow, all these people will go away, and my head is in a complete muddle with them.”

Klaus Honnef, ‎Ingo F. Walther, ‎Karl Ruhrberg (1998) Art of the 20th Century: Painting. p. 7
undated quotes

“There are scarcely fifteen art-collectors in Paris capable of liking a painter without the backing of the Salon. There are eighty thousands of them who wouldn't buy a thing from a painter who is not in the [Paris'] Salon. I am not going to be so foolish as to condemn a thing just because of where it happens to be. In short, I'm not going to waste my time bearing a grudge against the Salon – I don't even want to look as if I do. To my mind, one must simply paint as well as one possibly can – and that's all.”

in a letter to madame Charpentier, c. 1876; as quoted in Renoir – his life and work, Francois Fosca, Book Club Associates / Thames and Hudson Ltd, London 1975, p. 80
1870's

“The artist who uses the least of what is called imagination, will be the greatest!”

Zdroj: 1880's, Renoir – his life and work, 1975, pp. 127-128 : in his letter to Durand-Ruel (1880's), explaining his choice to participate in the yearly official Salon as well as in the Impressionist Exhibition in Paris, on the same time.

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

Quoted in: Giles Auty (1977) The Art of Self-Deception: An Intelligible Guide, p. 88
undated quotes

“What are we supposed to do [reacting furiously on art-critic Jules Castagnary who proclaimed the so-called new School of Impressionism, 29 April 1874 in the Paris journal 'Le Siècle'] about these stupid literary people who will never understand that painting is a craft! You make it with materials, not ideas! The ideas come afterwards, when the painting is finished.”

Zdroj: undated quotes, Renoir – his life and work, 1975, p. 80 : Renoir to Vollard, referring to his color-use.

“[ Bazille.. ] had not died romantically, galloping over a Delacroix' battlefield…. but stupidly, during the retreat, on a muddy road…. that pure-hearted gentle knight.. [quote, shortly after 1870, on the death of Bazille].”

As quoted in The private lives of the Impressionists Sue Roe, Harper-Collins Publishers, New York, 2006, p. 127
1870's

“He [ Richard Wagner ] was very happy but very nervous [Renoir proposed him to paint his portrait]... In short, I think I spent my time well, thirty five minutes is not long, but if I had stopped sooner it would have been better, because my model [Wagner] ended up by losing some of his good humor, and he became stiff. I followed these changes too closely [in the portrait]... At the end Wagner asked to see it. He said 'Ah! Ah! It's true that I look like a Protestant minister.”

as cited in Renoir, my Father, Jean Renoir; p. 124; as quoted in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 83 + 94
1870's