Light in Nature creates the movement of colors.

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

I knew exactly what I was, and there was no hang-up with me. None whatsoever. The fact that the pigment of my skin maybe being lighter brown than other people of my race, maybe some of them, but you know our race has all colors.

I think it's time to do clean-up for a generation. I believe this is one of the movies that hits home for all colors and all races. Everybody I talk to, black or white, suburban, rich or poor, can relate to rejection, can relate to not having a father or a mother.

There are infinite shadings of light and shadows and colors... it's an extraordinarily subtle language. Figuring out how to speak that language is a lifetime job.

Light in Nature creates the movement of colors.

The colors I choose there was to paint the first hotel, the Disneyland Hotel. Because of the cloudy sky we had in Paris, it had to be a particular kind of color who will fight those grey days. And also something you can see when you're driving up 'There it is! We're arriving!'

Lots of colors appear when you're working with other people.

What a privilege to be here on the planet to contribute your unique donation to humankind. Each face in the rainbow of colors that populate our world is precious and special.

Programmers and marketing people know how to get into your subconscious - they spend millions of dollars researching colors, shapes, designs, symbols, that affect your preferences, and they can make you feel warm, trusting, like buying. They can manipulate you.

Sixteen million colors in your palette are hard for any artist, especially a beginner, to turn down.

I've got no respect for any young man who won't join the colors.

The mind is like a richly woven tapestry in which the colors are distilled from the experiences of the senses, and the design drawn from the convolutions of the intellect.

It's ok to show all your colors.

Many a dangerous temptation comes to us in fine gay colors that are but skin-deep.

A hundred things are done today in the divine name of Youth, that if they showed their true colors would be seen by rights to belong rather to old age.

I am just learning to notice the different colors of the stars, and already begin to have a new enjoyment.

You don't want a million answers as much as you want a few forever questions. The questions are diamonds you hold in the light. Study a lifetime and you see different colors from the same jewel.

Twilight is about getting older and relationships - not about a murder mystery. It's about love when you reach a certain age; nothing is in primary colors.

Some colors reconcile themselves to one another, others just clash.

They that are against superstition oftentimes run into it of the wrong side. If I wear all colors but black, then I am superstitious in not wearing black.

In Torch Song, I did that character almost non-stop from 1978 until I made the movie in 1987. Then I had some failure, which also colors how you react to doing other things.

Every time I get a script it's a matter of trying to know what I could do with it. I see colors, imagery. It has to have a smell. It's like falling in love. You can't give a reason why.

The makeup is simply an extension of the personality and colors, clothing, makeup all express something.

I've tried everything. I've done therapy, I've done colonics. I went to a psychic who had me running around town buying pieces of ribbon to fill the colors in my aura. Did the Prozac thing.