It is this research into pure painting that is the problem at the present moment. I do not know any painters in Paris who are really searching for this ideal world.

On the other hand, the artist has much to do in the realm of color construction, which is so little explored and so obscure, and hardly dates back any farther than to the beginning of Impressionism.

Simultaneity in light is harmony, the rhythm of colors which creates the Vision of Man.

This communication alone, by the comparison of the antagonisms, rivalries, movements which give birth to decisive moments, permits the evolution of the soul, whereby a man realizes himself on earth. It is impossible to be concerned with anything else in art.

If Art relates itself to an Object, it becomes descriptive, divisionist, literary.

But what I attach great importance to is observation of the movement of colors. It is only in this way that I have found the laws of complementary contrast and the simultaneity of those colors that nourish the rhythm of my vision. There I find the representative essence — which does not arise from a system or an a priori theory.

Light in Nature creates the movement of colors.