We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.

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.

A painting is not a picture of an experience, but is the experience.

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.

The artist invites the spectator to take a journey within the realm of the canvas... Without taking the journey, the spectator has really missed the essential experience of the picture.

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

There is more power in telling little than in telling all.