"I think continually of some way of painting without the dot. I hope to achieve this but I have not been able to solve the problem of dividing the pure tone without harshness.. .How can one combine the purity and simplicity of the dot with the fullness, suppleness, liberty, spontaneity and freshness of sensation postulated by our impressionist art? This is the question which preoccupies me, for the dot is meager, lacking in body, diaphanous, more monotonous than simple, even in the Seurat's, particularly in the Seurat's .. .I'm constantly pondering this question, I shall go to the Louvre to look at certain painters who are interesting from this point of view. Isn't it senseless that there are no Turners .."

“Each one of us has several facets. The surface often appears more important than what is inside, hence the errors of those who judge carelessly. How many times has that not happened to me! The surface is often complete in some people from the very beginning, but not the possession of their own sensations. From this come errors. Some natures achieve the surface very slowly j this is the least danger an artist runs. So one should not think of the surface or the appearance, but concentrate on what is inner!”

“The next day he took me to hear the 'Concert Colonne' at the Chatelet. First we lunched and then went to the hall. There was a fine program! Schumann, Bizet , Berlioz . - I can scarcely express how I marveled at the Hamlet and Romeo et Juliette of Berlioz. - He belongs with Delacroix, with Shakespeare, he is of the same family, he has the mark of these men of genius. He is prodigious in movement, imagination, strangeness, vigor, delicacy, sense of contrast, he is terrible and suave.”

“I began to understand my sensations, to know what I wanted, at around the age of forty.. ..but only vaguely. At fifty, that is in 1880, I formulated the idea of unity, without being able to render it. At sixty, I am beginning to see the possibility of rendering it.”

“Yesterday I had a violent run-in with M. Eugene Manet on the subject of Seurat and Paul Signac. The latter was present, as was Guillaumin. You may be sure I rated Manet roundly. - Which will not please Renoir. - But anyhow, this is the point, I explained to M. Manet, who probably didn't understand anything I said, that Seurat has something new to contribute which these gentlemen, despite their talent, are unable to appreciate, that I am personally convinced of the progressive character of his art and certain that in time it will yield extraordinary results. Besides I am not concerned with the appreciation of artists, no matter whom. I do not accept the snobbish judgments of "romantic impressionists" to whose interest it is to combat new tendencies. I accept the challenge, that's all..”

“I well remember that around 1874, Duret, who is above reproach, Duret himself said to me with all sorts of circumlocutions that I was on the wrong track, that everyone thought so, including my best friends.. .I admit that when alone, with nobody to prompt me, I reproached myself similarly, - I plumbed myself, - decision was terribly hard. - Should I, yes or no, persevere another way? I concluded in the affirmative, I took into account the risks of the unknown, and I was right to stick.”

“collected letters to his son Lucien, pdf on Archive”