Camille Pissarro Quotes

Blessed are they who see beautiful things in humble places where other people see nothing.

Everything is beautiful, all that matters is to be able to interpret.

All the sorrow, all the bitterness, all the sadness, I forget them and ignore them in the joy of working.

God takes care of imbeciles, little children and artists.

Work at the same time on sky, water, branches, ground, keeping everything going on an equal basis... Don't be afraid of putting on colour... Paint generously and unhesitatingly, for it is best not to lose the first impression.

When you do a thing with your whole soul and everything that is noble within you, you always find your counterpart.

It is absurd to look for perfection.

I think when one has talent one finally breaks through; so don't pass up any opportunity to do some work.

It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.

Painting, art in general, enchants me. It is my life. What else matters? When you put all your soul into a work, all that is noble in you, you cannot fail to find a kindred soul who understands you, and you do not need a host of such spirits. Is not that all an artist should wish for?

At fifty, that is in 1880, I formulated the idea of unity, without being able to render it. At sixty, I am beginning to see the possibility of rendering it.

I regard it as a waste of time to think only of selling: one forgets one's art and exaggerates one's value.

One can do such lovely things with so little. Subjects that are too beautiful end by appearing theatrical.

Cover the canvas at the first go, then work at it until you see nothing more to add.

Don't be afraid in nature: one must be bold, at the risk of having been deceived and making mistakes.

It is the brushwork of the right value and color which should produce the drawing.

The subject should be observed more for shape and color than for drawing... precise drawing is dry and hampers the impression of the whole, it destroys all sensations.

At times I come across works of mine which are soundly done and really in my style, and at such moments I find great solace.

Don't be afraid of putting on color, refine the work little by little.

We are all the subjects of impressions, and some of use seek to convey the impressions to others. In the art of communicating impressions lies the power of generalizing without losing that logical connection of parts to the whole which satisfies the mind.

But as I see it, the most corrupt art is the sentimental the art of orange blossoms which make pale women swoon.

Paint the essential character of things.

I began to understand my sensations, to know what I wanted, at around the age of forty - but only vaguely.

Cover the canvas at the first go, and then work on till you see nothing more to add ... Don't proceed according to rules and principles, but paint what you observe and feel. Paint generously and unhesitatingly, for it is best not to lose the first impression.

I sometimes have a horrible fear of turning up a canvas of mine. I'm always afraid of finding a monster in place of the precious jewels I thought I had put there!

It does not astonish me that the critics in London relegate me to the lowest rank. Alas! I fear that they are only too justified!

I remember that, although I was full of fervour, I didn't have the slightest inkling, even at forty, of the deeper side to the movement we were pursuing by instinct. It was in the air!

Watercolour is not especially difficult, but I must warn you to steer clear of those pretty English watercolourists, so skilful and alas so weak, and so often too truthful.