Berthe Morisot citáty (36 citátů) | Citáty slavných osobností

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“There is constant sun, good weather all the time, the ocean like a slab of slate - there is nothing less picturesque than this combination.”

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Berthe Morisot

2 quotes on weather, in a letter to her sister Edma, Summer 1873; as cited in The Correspondence of Berthe Morisot, with her family and friends, Denish Rouart - newly introduced by Kathleen Adler and Tamer Garb; Camden Press London 1986, p. 43
1871 - 1880

“The love of art…. reconciles us to our lined faces and white hear. [Berthe Morisot was 40 years then]”

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Berthe Morisot

quote in a letter to a friend, c. 1881; as cited in The Correspondence of Berthe Morisot, with her family and friends, Denish Rouart - newly introduced by Kathleen Adler and Tamer Garb; Camden Press London 1986, p. 117
1881 - 1895

“Men readily believe that they will fill a whole life; but for my part, I believe that however fond one is of one's husband, one does not relinquish a life of work without some difficulty; affection is a very pretty thing provided it is coupled with something to fill one's day; that something, for you, I see as motherhood.”

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Berthe Morisot

in a letter to her sister Edma Morisot, 23 April 1869; as cited in The Correspondence of Berthe Morisot, ed. Denis Rouart; Camden, London 1986 / Kinston, R. I. Moyer Bell, 1989, p. 29
1860 - 1870

“Another stroll along the quays with Julie asking questions all the time. We stood for a long time examining the sun and the planet at a mapmaker's.... There in the Tuileries Gardens.... sitting down I began to ponder over my painting of the garden, watching the shadows on the sand and on the roof of the Louvre, and trying to find the relationship between light and shade. Julie saw pink in the light and purple in the shadows.”

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Berthe Morisot

a note of Berthe Morisot, June, 1887; from 'Carnet Beige', in Morisot Enchantment, Philippe Huisman, La Bibliotheque des Arts; Lausanne; Paris, 1962. p. 26
about a walk with daughter Julie, 8 years old, through Paris
1881 - 1895

“As I admired it [a red pencil and chalk drawing by Degas of a young mother, nursing her child] he showed me a whole series done from the same model and with the same sort of rhythm. He is a draughtsman of the first order; it would be interesting to show all these preparatory studies for a painting to the public, which generally imagines that the impressionists work in a very casual way. I do not think it possible to go further in the rendering of form.”

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Berthe Morisot

note in Berthe's Journal, Jan. 1886; as quoted in The Private Lives of the Impressionists, Sue Roe; Harper Collins Publishers, New York, 2006, pp. 262-263
Berthe visited Degas in his studio
1881 - 1895

“.. the glimpse of the dome of St. Paul's through the forest of yellow masts, the whole thing bathed in a golden haze.”

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Berthe Morisot

In a letter to her sister Edma, August 1875; as quoted in The Correspondence of Berthe Morisot, with her family and friends Denish Rouart - newly introduced by Kathleen Adler and Tamer Garb; Camden Press London 198, p. 105
Berthe is describing the embankment of river Thames
1871 - 1880

“I say, 'I should like to die', but that's not true at all, I should like to get younger.... youth and old age are similar in more ways than one, and they are the two moments in life when one can feel one's own soul which would be a proof that it exists.”

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Berthe Morisot

quote in Berthe's notebook, after the death of her husband Eugène Manet, 1892; cited in Berthe Morisot, ed. Delafond and Genet-Bondeville, 1997, p. 70
1881 - 1895

“This project [an Impressionist exhibition in Paris] is very much up in the air. Degas' perversity makes it almost impossible of realization; there are clashes of vanity in this little group [of impressionists] that make any understanding difficult. It seems to me that I am the only one without any pettiness of character. This makes up for my inferiority as a painter.... the truth is that our value [of woman] lies in feeling, in intuition, in our vision that is subtler than that of men, and we can accomplish a great deal provided that affectation, pedantry and sentimentalism do not come to spoil everything.”

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Berthe Morisot

Quote of Berthe Morisot, 1885; as cited in Impressionist quartet, ed. Jeffrey Meyers; publishers, Harcourt, 2005, p. 94
Edgar Degas was the organizing force of most Impressionist exhibitions; this one never took place
1881 - 1895

“It is odd that Edouard [Manet] with his reputation as an innovator, who has survived such storms of criticism, should suddenly be seen as a classicist. It just proves the imbecility of the public, for he has always been a classic painter.”

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Berthe Morisot

Quote of Berthe Morisot, 1884; as cited in Impressionist quartet, ed. Jeffrey Meyers; publishers, Harcourt, 2005, pp. 124-125
1881 - 1895

“My dearest little Julie, I love you as I lie dying; I shall still love you when I am dead. I beg of you, do not cry; this parting was inevitable. I would have liked to be with you until you married – Work hard and be good as you have always been; you have never caused me a moment's sorrow in you little life [Julie is 16, then]. You have beauty, good fortune; use them well. I think the best thing would be to live with your cousins in the Rue de Villejust, but I do not wish to force you to do anything. Give a memento of me to you aunt Edma [Berthe's sister], and to your cousins too; and give Monet's [painting] 'Bateaux en reparation' to your cousin Gabriel. Tell M. Degas that if he found a museum he is to choose a Manet [of her Manet paintings]. A keepsake for Monet; one for Renoir, and one of my drawings for Bartolomé. Give something to the two concierges. Do not cry, I love you more than I can tell you.”

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Berthe Morisot

Quote of Berthe's last letter to daughter Julie, End of Feb. 1895; as cited in Berthe Morisot, Jean-Dominique Rey; translation in English, Flammarion, S.A. (ISBN: 978-2-08-020345-8), Paris, 2016, p. 217
1881 - 1895

“I will achieve it only [being an artist] by perseverance, and by openly asserting my determination to emancipate myself, [but].... I both lament and envy your [Edma's] fate. Bichette [her niece] helps me to understand maternal love; she comes onto my bed every morning and plays so sweetly.... life gets more complicated by the day here now I am gripped by the desire to have children, that' all I need.”

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Berthe Morisot

in an unpublished extract from a letter of Berthe to Edma, written in 1869; as cited in The Correspondence of Berthe Morisot, ed. Denis Rouart; Camden, London 1986 / Kinston, R. I. Moyer Bell, 1989, p. 31 (private collection)
1860 - 1870

“His [ Edouard Manet's] paintings, as they always do, produce the impression of a wild or even a somewhat unripe fruit. I do not in the least dislike them.”

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Berthe Morisot

Quote of Berthe 1864-65 in a letter to her sister Edma Morisot; as cited in Berthe Morisot, the first lady of Impressionism, Margaret Sehnan; Sutton Publishing (ISBN 0 7509 2339 3) 1996, p. 50
1860 - 1870

“Would you do us the great favour, you and Mademoiselle Geneviève, of coming to dine next Thursday? Monet will be there, Renoir also..”

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Berthe Morisot

short letter of Berthe to Stéphane Mallarmé, c. 1885-86; as cited in Vie de la Mallarmé, Henri Mondor, publisher Gallimard 1941, p. 501
at the Thursday-evening diners were frequently invited Berthe's relations; a. o. Monet, Degas, Renoir, Manet, Mallarmé etc..
1881 - 1895

“I have descended to the depths of suffering, and it seems to me that after that one cannot help being raised up. But I have spent the last three nights weeping. Pity! Pity! Remembrance is the true imperishable life... I should like to live my life over again, to record it, to admit my weaknesses; no, this is useless; I have sinned, I have suffered, I have atoned for it. I could write only a bad novel by relating what has been related a thousand times.”

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Berthe Morisot

Quote from Berthe's Morisot's letter, 1887 - after the death of her husband Eugène Manet
1881 - 1895

“I can not get over everything you did for me in that first day [for his support to hang her works on the 7th Impressionist exhibition, Spring 1882], it seems to me that you are working yourself to death, and all on my account. This touches me deeply and vexes me at the same time.”

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Berthe Morisot

Berthe Morisot, in a letter to her husband Eugene Manet, 1882; as cited in Impressionist quartet, ed. Jeffrey Meyers; publishers, Harcourt, 2005, p. 120
1881 - 1895

“Your phrase: 'I am working hard at growing old', is absolutely me. What if you were always to speak in my place..”

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Berthe Morisot

Quote from her letter to her friend Mallarmé, 14 July 1891; as cited in The Correspondence of Berthe Morisot, ed. Denis Rouart; Camden, London 1986 / Kinston, R. I. Moyer Bell, 1989, p. 160
1881 - 1895

“.. scumbled froth.... capable of indicating a mouth, eyes, a nose with a single stroke of the brush, the rest of the face modeled by the perfect accuracy of these indications.”

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Berthe Morisot

Quote of her notebooks about rendering, 1885-86; as cited in Berthe Morisot, ed. Delafond and Genet-Bondeville, 1997, p. 46
1881 - 1895

“These last days [of Manet, dying] were very painful. Poor Edouard suffered atrociously. His agony was horrible, death in one of its most appealing forms, that I once again witnessed at a very close range. If you add to these almost physical emotions my old bond of friendship with Edouard, a entire past of youth and work suddenly ending, you will know that I am devastated.”

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Berthe Morisot

in a letter to her sister Edma, April 1883; as quoted in The Correspondence of Berthe Morisot, with her family and friends Denish Rouart - newly introduced by Kathleen Adler and Tamer Garb; Camden Press London 198, p. 131
1881 - 1895

“Corot spoiled the 'étude' [study] we admired so much when we saw it at his home, by redoing it in the studio.”

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Berthe Morisot

Quote in a letter to Edma, 1869, in Morisot's Correspondence, p. 32; as cited by Margaret Sehnan in Berthe Morisot, the first lady of Impressionism; Sutton Publishing, 1996 - (ISBN 0 7509 2339 3), p. 86
1860 - 1870

“I saw the passers-by on the avenue clearly and simply, in the way they are in Japanese prints [she saw some earlier, together with Mary Casatt in the 'Ecole des Beaux Arts', Paris]. I was thrilled, I knew definitely why I had been painting badly and why I would never paint that way again. I mean to say, I am fifty years old and once a year at least I have the same joy and the same hope.”

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Berthe Morisot

Quote of Berthe Morisot, Jan. 1891; in 'Carnet Noir'; as cited in Berthe Morisot by Monique Angoulvent, Morance, Paris, 1933, p. 97
1881 - 1895

“My ambition is limited to capturing something transient.”

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Berthe Morisot

in Correspondence de Berthe Morisot, ed. Denis Rouart; Paris (1950)
undated quotes

“This painting, this work you miss so much [the two sisters Morisot painted a lot together] is a cause of much trouble and concern, you know this as well as I do and yet, child that you are, you are already weeping for the loss of the very thing that darkened you mood only recently. Think of it, yours is not the very worst lot: you have a real affection, a devoted heart that is yours an yours alone, do not be ungrateful for the dealings of fate, think of the great sorrow that is solitude; whatever anyone says or does, womankind has immense need of affection; to want to retreat into yourself is to attempt the impossible.”

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Berthe Morisot

in Berthe's letter to her sister Edma, c. 1870; as cited in The Correspondence of Berthe Morisot, ed. Denis Rouart; Camden, London 1986 / Kinston, R. I. Moyer Bell, 1989, p. 29
1860 - 1870

“Music and painting should never be literary, a very subtle distinction according to Renoir. As soon as I try to represent an individual, their physiognomy and attitudes, I become a literary artist.”

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Berthe Morisot

Quote in a notebook, after having visited Renoir; as cited in Berthe Morisot, ed. Delafond and Genet-Bondeville, 1997, p. 54
undated quotes

“If you read some of the Parisian newspapers, among others the 'Figaro', so beloved of the right-thinking public, you must have learned that I am part of a group of artists who opened a private exhibition [in the art-gallery of Durand-Ruel in Paris, April 1876]. You must also have seen what favour this exhibition enjoys in the eyes of these gentlemen [Berthe refers to the critical articles in Paris with all their mockery about her works]. On the other hand, we have been praised in the radical newspaper, but you don't read those [her aunts]! Well, at least we are getting attention, and we have enough self-esteem not to care. My brother-in-law Edouard Manet is not with us [Manet didn't participate in this first Impressionist show, initiated by Degas ]. Speaking of success, he [Manet] has just been rejected by the Salon; he, too, is perfectly good-humored about his failure.”

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Berthe Morisot

In a letter to her aunts, 1876; as quoted in The Private Lives of the Impressionists, Sue Roe; Harper Collins Publishers, New York, 2006, p. 155
Berthe wrote this letter after the second Impressionist exhibition of April 1876 where she was participating with 19 pictures (Monet with 18!)
1871 - 1880

“The touch, sure and light [is] fixing something of the passing moment.... memory is the true, imperishable life, that which has sunk without trace and been forgotten was not worth experiencing, the sweet hours, and the great and dread, are immutable. Dreams are life itself – and dreams are more true than reality; in them we behave as our true selves – if we have a soul it is there.”

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Berthe Morisot

Quote from her letter to her friend Mallarmé 1882; as cited in The Correspondence of Berthe Morisot, ed. Denis Rouart; Camden, London 1986 / Kinston, R. I. Moyer Bell, 1989, p. 160
after her visit to Italy
1881 - 1895

“I think that it will be a great success, that all this painting [of Edouard Manet, shortly after his death], so fresh, so vital, will electrify the 'Palais des Beaux Arts' [in Paris], which is accustomed to dead art. It will be the revenge for so many rebuffs, but a revenge that the poor boy only in his grave.”

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Berthe Morisot

in a letter to her sister Edma Morisot, c. Jan 1884; as cited in: Impressionist quartet, ed. Jeffrey Meyers; publishers, Harcourt, 2005, p. 124
1881 - 1895

“He [Renoir] is a subtle and brilliant draughtsman.... all these preliminary drawings [in Renoir's studio] would astonish the public who obviously imagine the 'Impressionists' work at tremendous speed. I don't believe one can go further [in making sketches as studies] than this in the study of form in a drawing. I am charmed by his 'Nude Bathers' quite as much as those by Ingres. He [Renoir] tells me that he thinks the nude is absolutely indispensable as an art form.”

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Berthe Morisot

note in Berthe's Journal, c. 11 Jan. 1886, after visiting Renoir in his studio; in 'Carnet Beige', Morisot Enchantment, Huisman; as cited in Berthe Morisot, the first lady of Impressionism, by Margaret Sehnan; Sutton Publishing (ISBN 0 7509 2339 3), 1996, p. 234
1881 - 1895

“I am keen to earn some money.... beginning to lose all hope... What I see most clearly is that my situation in impossible from every point of view.”

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Berthe Morisot

quote in her letter to sister Edma, circa 1872/73, after Manet had forgotten to show one of her paintings to art-dealer Durand-Ruel; as cited in The Correspondence of Berthe Morisot, with her family and friends, Denish Rouart - newly introduced by Kathleen Adler and Tamer Garb; Camden Press London 1986, pp. 89-90
1871 - 1880

“He [ Manet ] begged me to go straight up and see his painting [ 'Le Balcon'] - Berthe was model for this painting], as he was rooted to the spot. I've never seen anyone in such a state, one minute he was laughing, the next insisting his picture was dreadful; in the next breath, sure it would be a huge success.”

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Berthe Morisot

quote from Berthe Morisot to her sister Edma Morisot, after visiting the Salon of Paris in 1869; as cited in The Correspondence of Berthe Morisot, with her family and friends, Denish Rouart with Adler and Garb; Camden Press London 1984, pp. 33-34
1860 - 1870

“I have heard so much about the perils ahead that I have had nightmares for several nights, in which I lived through all the horrors of war... The militia are quartered in the studio, hence there is no way of using it. I do not read the newspapers much any more; one a day is enough for me. The Prussian atrocities upset me, and I want to retain my composure... Would you believe that I am accustomed to the sound of the canon [of the Prussians]? It seems to me that I am now absolutely inured to war and capable of enduring everything.”

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Berthe Morisot

In a letter, Late Sept. 1870 to her sister Edma, from besieged Paris by the Germans; as cited in Impressionist quartet, ed. Jeffrey Meyers; publishers, Harcourt, 2005, p. 107
1860 - 1870