The progression of a painter’s work…will be toward clarity; toward the elimination of all obstacles between the painter and the idea, and between the idea and the observer…to achieve this clarity is, inevitably, to be understood.

The romantics were prompted to seek exotic subjects and to travel to far off places. They failed to realize that, though the transcendental must involve the strange and unfamiliar, not everything strange or unfamiliar is transcendental.

My art is not abstract, it lives and breathes

(I am) dealing not with the particular anecdote, but rather with the Spirit of Myth, which is generic to all myths at all times.

While the authority of the doctor or plumber is never questioned, everyone deems himself a good judge and an adequate arbiter of what a work of art should be and how it should be done.

Without monsters and gods, art cannot enact a drama.

I do not believe that there was ever a question of being abstract or representational. It is really a matter of ending this silence and solitude, of breathing, and stretching one's arms again transcendental experiences became possible.