"Colour came into its own with papiers collés.. ..with these works we succeeded in dissociating colour from form, in putting it on a footing independent of form, for that was the crux of the matter. Colour acts simultaneously with form, but has nothing to do with form."

“I felt dissatisfied with traditional perspective. Merely a mechanical process, this perspective never conveys things in full. It starts from one viewpoint and never gets away from it. But the viewpoint is quite unimportant. It is though someone were to draw profiles all his life, leading people to think that a man has only one eye.. .When one got to thinking like that, everything changed, you cannot imagine how much!”

“The painting is finished when it has erased the idea.”

“I started to introduce letters into my pictures . These were forms which could not be deformed, because, being two-dimensional, they existed outside three-dimensional space; their inclusion in a picture allowed a distinction to be made between objects which were situated in space and those which belonged outside space .”

“The arts which achieve their effect through purity have never been arts that were good for everything. Greek sculpture with its decadence, teaches us this.”

“I am always working on a number of canvases at one time, eight, ten.. ..I take years to finish them, but I look at them each day.. .You see the advantage of not working from real life – the apples would be rotten long before I completed my canvas.. .I find that it is important to work slowly. Anyone who looks at such a canvas will follow the same path the artist took, and he will experience that it is the path which counts more than the outcome of it, and that the route taken has been the most interesting part.”

“The whole Renaissance tradition is antipathic to me. The hard-and-fast rules of perspective which it succeeded in imposing on art were a ghastly mistake which it has taken four centuries to redress; Cézanne and after him Picasso and myself can take a lot of credit for this.. ..scientific perspective forces the objects in a picture to disappear away from the beholder instead of bringing them within his reach as painting should.”