A picture lives by companionship, expanding and quickening in the eyes of the sensitive observer

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.

I'm not an abstractionist. I'm not interested in the relationship of color or form or anything else. I'm interested only in expressing basic human emotions: tragedy, ecstasy, doom, and so on.

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

Art to me is an anecdote of the spirit, and the only means of making concrete the purpose of its varied quickness and stillness.

Look, it's my misery that I have to paint this kind of painting, it's your misery that you have to love it, and the price of the misery is thirteen hundred and fifty dollars.

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