We struggle against easel painting not because it is an aesthetic form of painting, but because it is not modern, for it does not succeed in bringing out the technical side, it is a redundant, exclusive art, and cannot be of any use to the masses. Hence we are struggling not against painting but against photography carried out as if it were an etching, a drawing, a picture in sepia or watercolor.

Only the camera seems to be really capable of describing modern life.

One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again.

Photography - the new, rapid, concrete reflector of the world - should surely undertake to show the world from all vantage points, and to develop people's capacity to see from all sides. (1928)

Contradictions of perspective. Contrasts of light. Contrasts of form. Points of view impossible to achieve in drawing and painting. Foreshortenings with a strong distortion of the objects, with a crude handling of matter. Moments altogether new, never seen before compositions whose boldness outstrips the imagination of painters Then the creation of those instants which do not exist, contrived by means of photomontage. The negative transmits altogether new stimuli to the sentient mind and eye.

Don’t try to capture a man in one synthetic portrait, but rather in lots of snapshots taken at different times and in different circumstances.

We struggle against easel painting not because it is an aesthetic form of painting, but because it is not modern, for it does not succeed in bringing out the technical side, it is a redundant, exclusive art, and cannot be of any use to the masses. Hence we are struggling not against painting but against photography carried out as if it were an etching, a drawing, a picture in sepia or watercolor.