The artist must train not only his eye but also his soul.

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.

Everything that is dead quivers. Not only the things of poetry, stars, moon, wood, flowers, but even a white trouser button glittering out of a puddle in the street... Everything has a secret soul, which is silent more often than it speaks.

Every artist, as child of his age, is impelled to express the spirit of his age.

As a picture painted in yellow always radiates spiritual warmth, or as one in blue has apparently a cooling effect, so green is only boring.

In general, therefore, color is a means of exerting a direct influence upon the soul. Color is the keyboard. The eye is the hammer. The soul is the piano with its many strings. The artist is the hand that purposefully sets the soul vibrating by means of this or that key.

The circle is the synthesis of the greatest oppositions. It combines the concentric and the eccentric in a single form and in equilibrium. Of the three primary forms, it points most clearly to the fourth dimension.