I almost never do drawings, because I have found over the years that doing something in one medium and translating into another doesn't work. I like to conceive a painting in real scale and in color.

A language not based on universal symbols or sensations is gibberish, a pitfall of modern art, no longer modern.

I think of music a lot when I paint. The theme of it to a degree is music. So instead of literally putting in music or literally putting in a musical instrument, I use only a hint of the instrument, but the brocaded pattern is like a line of Bach because of its order and the leaves going up are like passages from Vivaldi, and the emphasis on drapery is where the sound comes.

There are times when I love to play all kinds of complicated games in painting. But this is one case when I need to be fairly straightforward. I'll just try to paint the man, his intelligence, his amiability and his stature, maybe paint him fairly close to humor and try to get it just right.

We got interested in aesthetics, and then at the end of all of it we fell off the precipice. It's almost like crawling back because so many techniques are lost, and so we're going to have a [small] reserve of teachers who can teach the vast number of interested students. We have these poor, hungry, starving people who want to learn something and no place to get it. It's a tragedy.

If you can see it, and if you know your color, you can paint it.

It's not just a boring exercise in pushing oil paint around a canvas. It's a way of opening a threshold to an exciting new world of vision.