"For the student of visionary art the interesting fact is that an image comes first and takes up residence in the mind long before the artist has any notion why it is there or what it means. Whether visions come from some great reservoir of symbolic images which are eternally there or whether they are due to buried memories, their obsessive power over an artist's mind, and their clear, compulsive emergence in his work depends on a mental condition that can come and go. When, for some reason, they no longer present themselves to the mind's eye, alive or clamoring to be born, the visionary artist has a hard time — dark days. This is particularly true if he has lost the habit of feeding his mind on the observation of nature."

“Two pictures painted in the year 1907 can conveniently be taken as the starting point of twentieth-century art. They are Matisse's Blue Nude and Picasso's Demoiselles d'Avignon; and both these cardinal, revolutionary pictures represent the nude. The reason is that the revolt of twentieth-century painters was not against academicism: that had been achieved by the impressionists. It was a revolt against the doctrine, with which the impressionists implicitly agreed, that the painter should be no more than a sensitive and well-informed camera. And the very elements of symbolism and abstraction that made the nude an unsuitable subject for the impressionists commended it to their successors. When art was once more concerned with concepts rather than sensations, the nude was the first concept that came to mind.”

“What on earth has given opera its prestige in western civilisation — a prestige that has outlasted so many different fashions and ways of thought? Why are people prepared to sit silently for three hours listening to a performance of which they do not understand a word and of which they very seldom know the plot? Why do quite small towns all over Germany and Italy still devote a large portion of their budgets to this irrational entertainment? Partly, of course, because it is a display of skill, like a football match. But chiefly, I think, because it is irrational. "What is too silly to be said may be sung" — well, yes; but what is too subtle to be said, or too deeply felt, or too revealing or too mysterious — these things can also be sung and can only be sung.”

“To anyone who is not an artist it must seem rather strange that Degas who could do anything — for whom setting down what he saw presented no difficulties at all — should have continued to draw the same poses year after year — often, it would seem, with increasing difficulty. Just as a classical dancer repeats the same movements again and again, in order to achieve a greater perfection of line and balance, so Degas repeats the same motifs, it was one of the things that gave him so much sympathy with dancers. He was continually struggling to achieve an idea of perfect form, but this did not prevent him looking for the truth in what might seem an artificial situation.”

“Sweeping, confident articles on the future seem to me, intellectually, the most disreputable of all forms of public utterance.”

“I wonder if a single thought that has helped forward the human spirit has ever been conceived or written down in an enormous room.”

“Fine colour implies a unified relationship, in which each part is subordinate to the whole, and the transitions between them are felt to be as precious and beautiful as the colours themselves. In fact, the colours themselves must be continuously modified and broken as part of the transition. Ruskin said in his Elements of Drawing, "Give me some mud off a city crossing, some ochre out of a gravel-pit, a little whitening, and some coal dust, and I will paint you a luminous picture, if you give me time to gradate my mud, and subdue my dust." In many works by the greatest colourists — Rembrandt and Watteau are examples — there are very few identifiable colours.”