It is this research into pure painting that is the problem at the present moment. I do not know any painters in Paris who are really searching for this ideal world.

Our understanding is correlative to our perception.

Light in Nature creates the movement of colors.

The auditory perception is not sufficient for our knowledge of the world; it does not have vastness.

But what is of great importance to me is observation of the movement of colors.

Painting is by nature a luminous language.

Art in Nature is rhythmic and has a horror of constraint.

Seeing is in itself a movement.

The idea of the vital movement of the world and its movement is simultaneity.

Simultaneity in light is harmony, the rhythm of colors which creates the Vision of Man.

Nature engenders the science of painting.

If Art relates itself to an Object, it becomes descriptive, divisionist, literary.

First of all, I always see the sun! The way I want to identify myself and others is with halos here and there halos, movements of color. And that, I believe, is rhythm.

Light comes to us by the sensibility. Without visual sensibility there is no light, no movement.

In this movement of colors I find the essence, which does not arise from a system, or an a priori theory.

Impressionism; it is the birth of Light in painting.

Vision is the true creative rhythm.

Direct observation of the luminous essence of nature is for me indispensable.

I say it is indispensable to look ahead of and behind oneself in the present. If there is such a thing as tradition, and I believe there is, it can only exist in the sense of the most profound movements of culture.

This synchronous action then will be the Subject, which is the representative harmony.

I am very much afraid of definitions, and yet one is almost forced to make them. One must take care, too, not to be inhibited by them.

The eye is the most refined of our senses, the one which communicates most directly with our mind, our consciousness.

On the other hand, the artist has much to do in the realm of color construction, which is so little explored and so obscure, and hardly dates back any farther than to the beginning of Impressionism.

It is this research into pure painting that is the problem at the present moment. I do not know any painters in Paris who are really searching for this ideal world.

This communication alone, by the comparison of the antagonisms, rivalries, movements which give birth to decisive moments, permits the evolution of the soul, whereby a man realizes himself on earth. It is impossible to be concerned with anything else in art.

Direct observation of the luminous essence of nature is for me indispensable

The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.

I don't know if it was the whole audience getting stoned out of their minds getting ready for the Floyd thing or what it was, but it was like playing to a painting.

Painting is just another way of keeping a diary.

I don't like painting flowers in my music. I like painting guts and pain.

Painting is a faith, and it imposes the duty to disregard public opinion.

If the weather is good I go into the nearby wood - there I am painting a small beech forest (in the sun) with a few conifers mixed in. This takes until 8 'o clock.

The paintings may communicate even better because people are lazy and they can look at a painting with less effort than they can read a poem.

Life is painting a picture, not doing a sum.

The worlds I paint leave a lot to engage the imagination by hinting at what lies beyond the four edges of the painting. I think getting beyond the four edges of an opportunity or challenge is one of the basic skills you need in business.

When I was in art college, I would be painting, and I would create something on a canvas that was actually quite attractive. But if I got frightened and tried to protect that, that canvas would die.

My movement from painting to film was a very conscious one.

I believe that painting should come through the avenues of meditation rather than the canals of action.

For example, in painting the form arises from abstract elements of line and color, while in cinema the material concreteness of the image within the frame presents - as an element - the greatest difficulty in manipulation.

Coming to understand a painting or a symphony in an unfamiliar style, to recognize the work of an artist or school, to see or hear in new ways, is as cognitive an achievement as learning to read or write or add.

I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.

Painting... in which the inner and the outer man are inseparable, transcends technique, transcends subject and moves into the realm of the inevitable.

When we don't have information, we go to the simplest outlook, to black and white. But then we have to lie to ourselves. Black is never as black as you're painting it and white is never as white.

I was not out to paint beautiful pictures; even painting good pictures was not important to me. I wanted only to help the truth burst forth.

Painting is a nail to which I fasten my ideas.

Painting is a hobby for me.

I'm a secretive bastard. I would never let anybody watch me painting... it would be like somebody watching you have sex - painting is that personal to me.

Good painting is the kind that looks like sculpture.

Well, I am not interested in the kind of expression that you have when you paint a painting with brush strokes. It's all right, but it's already done and I want to do something new.