“I haven’t many years left ahead of me and I must devote all my time to painting, in the hope of achieving something worthwhile in the end, something if possible that will satisfy me.”

It is only too easy to catch people’s attention by doing something worse than anyone else has dared to do it before.

Never, even as a child, would I bend to a rule.

It’s on the strength of observation and reflection that one finds a way. So we must dig and delve unceasingly.

For me, the subject is of secondary importance: I want to convey what is alive between me and the subject.

I work at my garden all the time and with love. What I need most are flowers, always. My heart is forever in Giverny.

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.

Everything changes, even stone.

Light is the most important person in the picture.

I waited for the idea to consolidate, for the grouping and composition of themes to settle themselves in my brain.

I perhaps owe having become a painter to flowers.

Impressionism is only direct sensation. All great painters were less or more impressionists. It is mainly a question of instinct, and much simpler than [John Singer] Sargent thinks.

I still don’t know where I am going to sleep tomorrow.

When I look at nature I feel as if I’ll be able to paint it all, note it all down, and then you might as well forget it once you’re working.

Without the fog, London would not be a beautiful city. It is fog that gives it its magnificent amplitude its regular and massive blocks become grandiose in that mysterious mantle.

It took me time to understand my water lilies. I had planted them for the pleasure of it; I grew them without ever thinking of painting them.

I would like to paint the way a bird sings.