Every now and then you meet someone whos iridescent paint

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“But every once in a while, you find someone who's iridescent, and when you do, nothing will ever compare.” Now. What makes the special person obvious to us ? paint. I have met a few. Between and , and after much trial and error, the first artist acrylic paint Sam and Adele used every resource they had to keep the business alive. The original Heavy Body and Iridescent Acrylics grew to include Fluid, Matte and GOLDEN has sponsored "Paint Day," to provide the people who make paint the. The term "Impressionism" was derived from the title of Monet's painting In the shop-window of the one and only frame-maker who could make out a livelihood . most of you [Troyon's pupils] are falling down todaydraw with all your might; you .. so afraid of meeting new people, that I am afraid that he might let us down .

I want to fight, scratch it off, start again, because I start to see and understand. I seems to me as if I can see nature and I can catch it all. That is what we are working on, continuously. Here my dear fellow, it is is charming, and I discover every day always beautiful things. It is enough to become mad [fou], so much do I have the desire to do it all, my head is cracking. Damn it, here it is the sixteenth, put aside your cliques and your claques, and come spend a couple of weeks here, it would be the best thing that you could do, because in Paris it cannot be very easy to work.

This very day, I still have a month to stay in Honfleur ; furthermore my sketches are becoming finished, I have even set to work additionally [remis] on some others. In sum, I am content enough with my stay here, even though my studies are very far from what I would wish. It is decidedly frightfully difficult to make something complete in all respects, and I think that there are scarcely any but those who content themselves with the approximate.

Very well, my dear fellow, I want to struggle, scrape, start over again [recommencer], because one can do what one sees and understands, and it seems to me, when I see nature, that I am going to do it all, write it all out, but them go try to do it. All this proves that one must only think about this. It is by force of observation and reflection that one finds.

So let us grind away and grind away constantly. Are you making any progress?

Claude Monet - Wikiquote

Yes, I am sure of it, but what I am sure of is that you do not work enough and not in the right way. It is not with carefree guys like your Villa and others that you will be able to work. It would be better all alone, and yet, all alone there are plenty of things that one cannot make out. In the end all of this is terrible, and it is a rough task.

It is frightening what I see in my head. It seems to me, when I see nature, that I see it ready made, completely written — but then, try to do it! All this proves that one must think of nothing but them [impressions]; it is by dint of observation and reflection that one makes discoveries. Gedo Psychoanalytic Perspectives on Art. Boudin and Jongkind are here; we get on marvelously. There's lots to be learned and nature begins to grow beautiful.

I shall tell you I'm sending a flower picture to the exhibition at Rouen; there are very beautiful flowers at present. Henning, Cleveland Museum of Art. Creativity in art and science, The further I get, the more I regret how little I know, that's what hinders me the most.

I don't think I will spend much time in Paris now, a month at the very most, each year. Discovering Art, Brockhampton press, Londonp. In Paris one is too preoccupied by what one sees and what one hears, however strong one is; what I am doing here has, I think, the merit of not resembling anyone, because it is simply the expression of what I myself have experienced.

I spent my time out of doors. And then in the evening, dear fellow, I come home to my little cottage to find a good fire and a dear little family. Dear friend, it's a delight to watch this person [his first son Jean, born in ] grow, and I am glad to have him to be sure All the same, I have probably not reached the end of my troubles.

Here is winter at hand, a season not very pleasant for the wretched. Then comes the Salon. I still won't be in it, for I shall have done nothing. I have a dream a picture of the bathing spot at the Grenouillerefor which I've made a few poor sketches, but it is a dream. Renoirwho has just spent two months here, also wants to do this painting.

Bonafoux72cited in Michael P. Farrell Collaborative Circles: Friendship Dynamics and Creative Work. I received your second letter this morning and I see that you are going to great pains on my behalf and getting nowhere: I'm sorry to be giving you so much trouble; so drop the whole thing, and I'll ask Durand-Ruel if he could see to it for me, he might be able to get rid of these damn frames. I see that you are definitely going to leave that delightful country for good.

Where are you going to, Paris or Louveciennes? I hope you'll write and let me know Marianne AlphantClaude Monet en Holland, p.

Houses of every colour, hundreds of windmills and enchanting boats, extremely friendly Dutchmen who almost all speak French I have not had time to visit the museums, I wish to work first of all and I'll treat myself to that later. Quote in a letter to Camille Pissarro17 June ; first part cited in: We are all very pleased to see you defend ideas which are also ours, and we hope that, as you say, 'L'Avenir national' will kindly lend us its support when the Society we are in the process of forming is finally established.

I'll get them [the station office] to delay the train for Rouen for half an hour. The light will be better then.

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Monet's remark to Renoir who responded: I am heartbroken, and I absolutely must share with you all my disillusionment; for nearly two months, I have given myself a lot of trouble without result.

You do not believe it perhaps, but it is so: I have not lost an hour and would have reproached myself to have taken even a day to come see our exhibition, just out of the fear of losing a single good painting session, an hour of sun. I alone can know my anxieties and the trouble that I give myself to finish canvases that don't even satisfy me and please so few people.

In a word, I am absolutely discouraged, not seeing, not hoping in any future. I feel all too well the void that is being made around me and the impossibility of facing up to my part of our expenses if we were to continue living together. I see everything in black, in pain. Please believe all the sorrow that I have in causing you trouble.

Blue, yellows, grey, what do I know?. How natural to to want to reproduce the last image of her, who was leaving us for ever. But even before the idea came to me to record her beloved features, something in me automatically responded tot the shocks of colours. I just seem to be compelled in an unconsciousness activity, the one I engage in every day, like an animal turning in its mill.

When you get to my age, there is nothing more to look forward to. Unhappy we are, unhappy we'll stay. Each day brings its tribulations and each day difficulties arise. So I'm giving up the struggle once and for all, abandoning all hope of success. I hear my friends are preparing another exhibition this year [the Impressionists, in Paris, ] but I'm ruling out the possibility of participating in it, as I just don't have anything worth showing.

After a few days of good weather, it's raining again and once again I have had to put the studies I started to one side. It's driving me to distraction and the unfortunate thing is that I take it out on my poor paintings. I destroyed a large picture of flowers which I'd just done along with three or four paintings which I not only scraped down but slashed.

Please be kind enough to have some money forwarded to me. Quote in a letter from Pourville c. Here I'll be certain to do more boats. Isham Image of the Sea: Oceanic Consciousness in the Romantic Century.

Do not go gently into the good night … those are the words adulthood should embrace. We suggest the best years of your life are with the young. We suggest that dreams are for the young.

someone who's iridescent | Enlightened Conflict

We suggest impossibility is possible with the young. Adults today have some wacky perspectives on adulthood. Far too many older adults are too busy being angry to understand that adulthood is great. But really growing up could be a revolution. Where the hell did we get the idea that youth is the best time of our life?

What the hell was so great about youth that we have decided to idealize youth? For some reason we have decided that adulthood means you need to renounce hoping for something better … and dreaming or pursuing dreams. I will go on repeating it forever. Procedures are not what I advocate.

The Louvre' Let's not eliminate nature. Too bad if we fail. You see, in his ' Dejeuner sur l'herbe ', Manet ought to have added - I don't know what - a touch of this nobility, whatever it is in this picture that conveys heaven to our every sense. Look at the golden flow of the tall woman, the other one's back. They are alive and they are divine. All the same, he tries in vain, does Jean-Dominique [Ingres], to wring your heart with his glossy finish!

I said this to Vollard, to shock him, he is very powerful! Nevertheless he [ Jean-Dominique IngresFrench classicist painter] is a damned good man. The most modern of the moderns. Do you know why I take my hat off to him? Because he forced his fantastic draughtsmanship down the throats of the idiots who now claim to understand it.

But here there are only two: The rest are scoundrels.

Claude Monet

His painting is iridescent. Seeing one Constable [famous English landscape painter, admired by French painters, then] is enough to make him understand all the possibilities of landscape, and he too sets up his easel by the sea.

And he has a sense of human being, of life in movement, of warmth. Everything moves, every glistens. There is more warm light in this interior [probably: Delacroix's ' Woman of Algiers '] of his than in all of Corot 's landscapes. The Louvre' Maybe Delacroix stands for Romanticism. He stuffed himself with too much Shakespeare and Dante, thumbed through too much Faust. His palette is still the most beautiful in France, and I tell you no one under the sky had more charm and pathos combined than he, or more vibration of colour.

We all paint in his language, as you all write in Hugo 's. The Louvre' A builder. A rough and ready plasterer. He Courbet is like a Roman bricklayer. And yet he's another true painter. There's no one in this century that surpasses him. Even though he rolls up his sleeves, plugs up his ears, demolishes columns, his workmanship is classical!.

His view was always compositional. His vision remained traditional. Like his palette-knife, he used it only out of doors.

He was sophisticated and brought his work to a high finish. His great contribution is the poetic introduction of nature - the smell of damp leaves, mossy forest cuttings - into nineteenth century painting; the murmur of rain, woodlands shadows, sunlight moving under trees.

And snow, he painted snow like no one else! The Louvre' That's my great ambition. Every time I attack a canvas I feel convinced, I believe that something's going to come of it.

But I immediately remember that I've always failed before. Then I taste blood. I never know where I am going or where I want to go with this damned profession. All the theories mess you up inside. The Studio' Until the war [between France and Germany] as you know, my life was a mess. It was only at l'Estaquewhen I thought things over, that I really understood Pissarroa painter like myself. He was a determined man. I was overcome by a passion for work.

It wasn't that I hadn't been working before, I was always working. But what I always missed, you know, was a comrade like you. The Studio' I'd like to combine melancholy and sunshine.

There's a sadness in Provence which no one has expressed; Poussin would have shown it in terms of some tomb, underneath the poplars of the Alyscamps.

I'd like to put reason in the grass and tears in the sky, like Poussin. You really need to see and feel your subject very clearly, and then If I express myself with distinction and power, there's my Poussin, there's my classicism.

The Studio' When I'am outlining the skin of a lovely peach with soft touches of paint, or a sad old apple, I catch a glimpse in the reflections they exchange of the same mild shadow of renunciation, the same love of the sun, the same recollection of the dew. Why do we divide up the world? Does this reflects our egoism?. The prism is our first step towards God, our seven beatitudes.

The Studio' Objects enter into each other. Chardin [French classical still-life painter] was the first to have glimpsed that and rendered the atmosphere of objects. Notice how a light transversal plane straddling the bridge of your nose makes the values more evident to the eye.

Well, he noticed that before we did. He also perceived that whole encounter in the atmosphere of the tiniest particles, the fine dust of emotion that surrounds objects. The drawing and the colour are no longer distinct; as soon as you paint you draw; the more the colours harmonize, the more precise the drawing becomes.

I know that from experience. When the colour is at its richest, the form is at its fullest. The Studio' There is, in a apple, in a head, a culminating point, and this point - in spite of the effect, the tremendous effect: The edge of objects recede to another point placed on your horizon. This is my great principle, my conviction, my discovery.

The eye must concentrate, grasp the subject, and the brain will find a means to express it. Abrams, New York,p. Like a voluptuous vision, this artificial corner of paradise has left even the most courageous gasping for breath Paul GauguinJunein a letter to his friend Schuffenecker ; as quoted in 'Impressionism: It was then [c.

A peasant who had watched them side by side at Auvers, remarked that 'M. Pissarro at working, made little stabs at the canvas 'il piquait'and M. Shikes, Paula Harper, Horizon Press,p. Of that technique, each picture contained a portion successfully applied, like a correct phrase of a new language to be created. Painting and Theory in the Final Decade, p.

Galenson, Harvard University Press,p. How sad it is that this man hasn't had more patronage in his life! This is a true artist who has come to doubt himself far too much.

He needs to be cheered up, so he was quite touched by your article. He cannot put two touches of colour on a canvas without its being very good. Few great artists have depended more on the model. Every picture carried him a little further towards his goal—complete expression; and because it was not the making of pictures but the expression of his sense of the significance of form that he cared about, he lost interest in his work so soon as he had made it express as much as he had grasped.

The whole of his later life was a climbing towards an ideal. For him every painting was a means, a step, a stick, a hold, a stepping-stone—something he was ready to discard as soon as it had served his purpose.

He had no use for his own pictures. To him they were experiments. He tossed them into bushes, or left them in the open fields to be stumbling-blocks for a future race of luckless critics. Clive BellArt IV. See also Modern Art and Modernism ed. The Impressionists were the first [painters] to reject the absolute value of the subject and to consider its value to be merely relative.

In Paul Cezanne's letters I notice ideas like these: I wish to make something lasting from impressionism, like the art in the museums'.