लिहून भिंतीवर भुजंग भरला रंग चिताऱ्याकडून...It has been my Lifelong Dream to Paint Walls

द ग गोडसे , पृष्ठ ४३, "नांगी असलेले फुलपाखरू", १९८९:

",,, बहुधा पांढऱ्या फटफटीत कपाळाची भिंत अशुभ समजण्यात येत असावी..."

Colin B. Bailey, The New York Review of Books, May 11 2023:

"...Although he never undertook a mural decoration, Edgar Degas confided to his dealer, Ambroise Vollard, that “it has been my lifelong dream to paint walls.” “Painting is done, is it not, to decorate walls; so it should be as rich as possible,” Pierre-Auguste Renoir explained to Albert André as he was completing his last monumental figure painting, The Bathers (1919)....

...Both books survey a number of decorative cycles, from Paul Cézanne’s early series The Four Seasons (1860–1861) to Claude Monet’s twenty-two glorious panels of Water Lilies (1915–1924). They redirect attention to canvases executed for specific interior spaces, as overdoors and decorative panels for dining rooms, salons, galleries, even stairwells, and occasionally as insertions into actual doors. And they reveal how deeply engaged many of the Impressionists were, in the late 1870s and early 1880s, in experimenting with new techniques in a variety of media: painting fans and ceramic tiles, pioneering the use of colored mats and frames, and even patenting colored cement as a medium for portraiture and decorative accessories..."

 Decorative panel: Monet's The Luncheon, 1873

"...Both books are on much firmer ground in their analyses of the small but significant number of Impressionist paintings that were conceived of and exhibited as “decorations.” Monet’s large, glorious Luncheon, painted in 1873 but held back until the Second Impressionist Exhibition of April 1876, shows the aftermath of an elegant luncheon at his villa in Argenteuil (see illustration on page 43). In a garden full of flowers, sunlight dapples the white tablecloth on which are visible the remnants of coffee and dessert. An early reference to the picture described it more accurately as “after the luncheon.” Relegated to the background at the upper right are the hostess, Monet’s companion, Camille Doncieux, in a white summer dress, and her parasol-bearing guest. Also easy to overlook is the little boy in a straw hat—the six-year-old Jean Monet—seated in the foreground at left, playing with his toy. The dynamic angle of the circular table and the garden bench propels the bedazzled, even disoriented, viewer into this sundrenched scene. With its deep purple shadows, syncopated dabs of color, and figures relegated to the margins, The Luncheon discourages narrative or anecdotal interpretation. In the catalog of the Second Impressionist Exhibition, Monet listed the work as “un panneau décoratif” (a decorative panel)..."