I have a real passion for bones. I have many others in Boisgeloup: skeletons of birds, dog's and sheep's heads. I even have a rhinoceros skull.

If I were to sign it now, I'd be committing forgery. I'd be putting my 1943 signature on a canvas painted in 1922.

I would like to manage to prevent people from ever seeing how a picture of mine has been done. What can it possibly matter? What I want is that the only thing emanating from my pictures should be emotion.

When I paint a woman in an armchair, the armchair is there to show illness and death-or as a protection.

One starts to get young at the age of sixty and then it is too late.

To model an object is to possess it.

So there's only one tactic for the state: kill the seers.