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.

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

If you are moved only by the color relationships, then you miss the point.

The most interesting painting is one that expresses more of what one thinks than of what one sees

I also hang the pictures low rather than high, and particularly in the case of the largest ones, often as close to the floor as is feasible, for that is the way they are painted.

There is no such thing as good painting about nothing.

This world of the imagination is fancy-free and violently opposed to common sense.