Camille Pissarro
Camille Pissarro
Camille Pissarrowas a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas. His importance resides in his contributions to both Impressionism and Post-Impressionism. Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54...
NationalityFrench
ProfessionPainter
Date of Birth10 July 1830
CountryFrance
Camille Pissarro quotes about
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 think when one has talent one finally breaks through; so don't pass up any opportunity to do some work.
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!
I regard it as a waste of time to think only of selling: one forgets one's art and exaggerates one's value.
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.
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.
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?
I began to understand my sensations, to know what I wanted, at around the age of forty - but only vaguely.
Don't be afraid of putting on color, refine the work little by little.
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.
But as I see it, the most corrupt art is the sentimental the art of orange blossoms which make pale women swoon.
Don't be afraid in nature: one must be bold, at the risk of having been deceived and making mistakes.
It is absurd to look for perfection.
Paint the essential character of things.