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

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.

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

The feat of superbly imitating a muscle, as Michelangelo did, or a face, as Raphael did, created neither progress nor a hierarchy in art. Because these artists of the sixteenth century imitated human forms, they were not superior to the artists of the high periods of Egyptian, Chaldean, Indochinese, Roman, and Gothic art who interpreted and stylized form but did not imitate it.

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

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

Enormous enlargements of an object or a fragment give it a personality it never had before, and in this way, it can become a vehicle of entirely new lyric and plastic power.