".. (large and famous painting of Dutch 17th century painter Rembrandt.. ..the grandiose - I don't say it in bad part - grows tiresome after a while. There are mountains like that; when you stand before them you shout Nom de Dieu, but for every day a simple little hill does well enough. Listen Monsieur Vollard, if the 'Raft of the Medusa' of Théodore Géricault hung in my bedroom, it would make me sick."

“And art puts us, I believe, in a state of grace in which we experience a universal emotion in an, as it were, religious but in the same time perfectly natural way. General harmony, such as we find in colour, is located all around us.”

“Maybe Delacroix stands for Romanticism. He stuffed himself with too much Shakespeare and Dante, thumbed through too much Faust. His palette is still the most beautiful in France, and I tell you no one under the sky had more charm and pathos combined than he, or more vibration of colour. We all paint in his language, as you all write in Hugo's.”

“He hits of the tone.. ..but his work lacks unity and temperament too.”

“I'd like to combine melancholy and sunshine.. .There's a sadness in Provence which no one has expressed; Poussin would have shown it in terms of some tomb, underneath the poplars of the Alyscamps.. .I'd like to put reason in the grass and tears in the sky, like Poussin.. .You really need to see and feel your subject very clearly, and then If I express myself with distinction and power, there's my Poussin, there's my classicism..”

“Colour, if I may say so, is biological. Colour is alive and colour alone makes things come alive.. .Without losing any part of myself, I need to get back to that instinct, so that these colours in the scattered fields signify an idea to me, just as to them they signify a crop. Confronted by a yellow, they spontaneously feel the harvesting activity required of them, just as I, when faced with the same ripening tint..”

“Colour is the place where our brain and the universe meet. That's why colour appears so entirely dramatic, to true painters. Look at Sainte-Victoire there How it soars, how imperiously it thirsts for the sun!. .For a long time I was quite unable to paint Sainte-Victoire; I had no idea to go about it because, like others who just look at it, I imagined the shadow to be concave, whereas in fact it's convex, it disperses outward from the center. Instead of accumulating, it evaporates, becomes fluid, bluish, participating in the movements of the surrounding air. Just as over there to the right, on the Pilon du Roi, you can see the contrary effect, the brightness gently rocking to and fro, moist and shimmering. That's the sea.. ..That's one needs to depict. What one needs to know. That's the bath of experience, so to speak...”