This truth must be recognized as a dogma and assume the validity of an axiom in the general understanding of painting.

A modern man registers a hundred times more sensory impressions than an eighteenth-century artist.

What does that represent? There was never any question in plastic art, in poetry, in music, of representing anything. It is a matter of making something beautiful, moving, or dramatic – this is by no means the same thing.

Colour is a human need like water and fire. It is a raw material indispensable to life.

Man needs color to live; it’s just as necessary an element as fire and water.

The craving for colour is a natural necessity just as for water and fire. Colour is a raw material indispensable to life. At every era of his existence and his history, the human being has associated colour with his joys, his actions and his pleasures.

I organize the opposition between colors, lines and curves. I set curves against straight lines, patches of color against plastic forms, pure colors against subtly nuanced shades of gray.

The Beautiful is everywhere; perhaps more in the arrangement of your saucepans on the white walls of your kitchen than in your eighteenth-century living room or in the official museums.

Above all, it is a matter of loving art, not understanding it.

Modern man lives more and more in a preponderantly geometric order. All human creation mechanical or industrial is dependent upon geometric intentions.