Color is the keyboard. The eye is the hammer. The soul is the piano, with its many strings.

Each color lives by its mysterious life.

Drawing instruction is a training towards perception, exact observation and exact presentation not of the outward appearances of an object, but of its constructive elements, its lawful forces-tensions, which can be discovered in given objects and of the logical structures of same-education toward clear observation and clear rendering of the contexts, whereby surface phenomena are an introductory step towards the three-dimensional.

Every work of art is the child of its time, often it is the mother of our emotions.

Those [things] that we encounter for the first time immediately have a spiritual effect upon us. A child, for whom every object is new, experiences the world in this way: it sees light, is attracted by it, wants to grasp it, burns its finger in the process, and thus learns fear and respect for the flame.

It is essential that the painter should develop not only his eyes, but also his soul, so that it too may be capable of weighing colors in balance.

Color cannot stand alone.