"..my favorite artist, when I first began to paint, was actually Cézanne. Later, between 1920 – 1930, I developed a great interest in Chardin , w:Vermeer and Corot, too.. ..that's why you have been able to detect in my works of between 1912 – 1916 some recognizable influences of the early Paris cubists and above all, of Cézanne."

“When most Italian artists of my own generation were afraid to be too 'modern,' too 'international' in their style, not 'national' or 'imperial' enough, I was still left in peace, perhaps because I demanded so little recognition. My privacy was thus my protection and, in the eyes of the Grand Inquisitors of Italian art, I remained a provincial professor of etching, at the Fine Art Academy in Bologna.”

“Among the ancient painters, the Tuscan's are the ones that interest me more: above all Giotto and Massacio . Of the modern painters I think that Corot, Courbet, Fattori, and Cezanne are the most legitimate heirs to the glorious Italian tradition.”

“A white bottle is all that remain.”

“I am now working on a still life with a bottle and other objects spread out on a plane and it seems to be turning out well.”

“Perhaps I will have photographs taken of the still life with the round table and of the other with oranges and the furniture behind.”

“..my own paintings of that period remain pure still-life compositions and never suggest any metaphysical, surrealist, psychological, or literary considerations at all . My milliners' dummies, for instance, are objects like others and have not been selected to suggest symbolic representations of human beings of legendary or mythological characters. The only titles that I chose for these paintings were conventional, like 'Still Life, Flowers or Landscape', without any implications of strangeness of an unreal world .”