Camille Pissarro quotes - page 2
This Mr. Dewhurst has not understood the Impressionist movement in the very least. All he sees in it is a technical method... He also says that before going to London we knew nothing whatsoever about light; but we have studies that prove the contrary. He omits the influence of Claude Lorrain, Corot, all the 18th-century painters, Chardin most of all. But what he fails to realize is that while Turner and Constable were of service to us, they confirmed our suspicion that those painters had not understood 'The Analysis of Shadows', which in the case of Turner are always a deliberate effect, a plain dark patch. As to the division of tones, Turner confirmed us its value as a method, but not as a means of accuracy or truth to nature. In any case, the 18th century was our tradition. It seems to me that Turner too, had looked at Claude Lorrain. I am even inclined to think there is a picture by Turner, 'Sunset', hung side by side with a Claude.
Camille Pissarro
I well remember that around 1874, Duret, who is above reproach, Duret himself said to me with all sorts of circumlocutions that I was on the wrong track, that everyone thought so, including my best friends... I admit that when alone, with nobody to prompt me, I reproached myself similarly, - I plumbed myself, - decision was terribly hard. - Should I, yes or no, persevere [or seek] another way? I concluded in the affirmative, I took into account the risks of the unknown, and I was right to stick.
Camille Pissarro
The next day he [uncle Alfred] took me to hear the 'Concert Colonne' at the Chatelet. First we lunched and then went to the hall. There was a fine program! Schumann, Bizet (new to me), Berlioz (ditto). - I can scarcely express how I marveled at the Hamlet and Romeo et Juliette of Berlioz. - He belongs with Delacroix, with Shakespeare, he is of the same family, he has the mark of these men of genius. He is prodigious in movement, imagination, strangeness, vigor, delicacy, sense of contrast, he is terrible and suave.
Camille Pissarro
I am hard at work, at least I work as much as the weather permits. - I began a work the motif of which is the river bank in the direction of St. Paul's Church. Looking towards Rouen I have before me all the houses on the quays lighted by the morning sun, in the background the stone bridge, to the left the island with its houses, factories, boats, launches, to the right a mass of pinnaces of all colors.. .Yesterday, not having the sun, I began another work on the same motif in grey weather, only I looked more to the right [603]. I must leave you for my motif. I have a room on the street. I shall start on a view of the street in fog for it has been foggy every morning until eleven o'clock-noon. It should be interesting, the square in the fog, the tramways, the goings and comings..
Camille Pissarro
The day after your departure I started a new painting at Le Cours-la-Reine, in the afternoon in a glow of sun, and another in the morning by the water below St. Paul's Church. These two canvases are fairly well advanced, but I still need one session in fine weather without too much mist to give them a little firmness. Until now I have not been able to find the effect I want, I have even been forced to change the effect a bit, which is always dangerous. I have also an effect of fog.. .Until now I have not been able to find the effect I want, I have even been forced to change the effect a bit, which is always dangerous. I have also an effect of fog, another, same effect, from my window, the same motif in the rain, several sketches in oils, done on the quays near the boats; the next day it was impossible to go on, everything was confused, the motifs no longer existed ; one has to realize them in a single session.
Camille Pissarro