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I'm knocked out, I've never felt so physically and mentally exhausted, I'm quite stupid with it and long only for bed; but I am happy.
Perhaps it's true that I'm very hard on myself, but that's better than exhibiting mediocre work... too few were satisfactory enough to trouble the public with.
I sometimes feel ashamed that I am devoting myself to artistic pursuits while so many of our people are suffering and dying for us. It's true that fretting never did any good.
I've done what I could as a painter and that seems to me to be sufficient. I don't want to be compared to the great masters of the past, and my painting is open to criticism; that's enough.
I am pleased with the exhibition... everything on display was sold for a good price to decent people. It has been a long time since I believed that you could educate public taste.
One's better off alone, and yet there are so many things that are impossible to fathom on one's own. In fact it's a terrible business and the task is a hard one.
The older I become the more I realize of that I have to work very hard to reproduce what I search: the instantaneous. The influence of the atmosphere on the things and the light scattered throughout.
I'm getting so slow at my work it makes me despair, but... I'm increasingly obsessed by the need to render what I experience, and I'm praying that I'll have a few more good years left to me.
I want to paint the air in which the bridge, the house and the boat are to be found - the beauty of the air around them, and that is nothing less than the impossible.
I still have a lot of pleasure doing them, but as time goes by I come to appreciate more clearly which paintings are good and which should be discarded.
These landscapes of water and reflections have become an obsession. It's quite beyond my powers at my age, and yet I want to succeed in expressing what I feel.
It would be a very bad idea... to exhibit even a small number of this new series, as the whole effect can only be achieved from an exhibition of the entire group.
No one but myself knows the anxiety I go through and the trouble I give myself to finish paintings which do not satisfy me and seem to please so very few others.
The effect of sincerity is to give one's work the character of a protest. The painter, being concerned only with conveying his impression, simply seeks to be himself and no one else.
I've said it before and can only repeat that I owe everything to Boudin and I attribute my success to him. I came to be fascinated by his studies, the products of what I call instantaneity.
Getting up at 4 in the morning, I slave away all day until by the evening I'm exhausted, and I end by forgetting all my responsibilities, thinking only of the work I've set out to do.