"For the painter, for whom painting is a vital activity and a way of life — not merely a profession — such attitudes as we find in the histories are deadly. For him the only benefit, at least the deepest and most important benefit, which he can get from the study of the Masters comes from his capacity to see the painting in a thoroughly contemporary way. I mean in the present tense — the tense after all in which it was painted. Not for instance as an early this or a late that, nor as a good example of chiaroscuro or some other aesthetic or technical quality but as an immediately important human statement completely relevant to his life at the moment and convincing for that reason. If a work does not strike the painter in this way all further analysis of it will be futile."
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"The technical obstacles of painting perhaps dictate this form. It derives also from the limitations of personality, and such may be the simplifications that I have attempted."
"In the coming year I must do a large painting which will definitely get me recognized for what I truly am, for I want all or nothing. All those little paintings are not the only thing that I can do.. …"
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