"The same feeling came over me in the given degree as came out of the Emerson’s Essays when they were first given to me I I felt as I have read a page of the Bible in both cases. All my essential Yankee qualities we re brought forth out of this picture and if I needed to be stamped an American this was the first picture that had done this – for it had in it everything that I knew and had experienced about my own New England – even though I had never lived by the sea – it had in it the stupendous solemnity of a Blake, picture and it had a sense of realism besides that bore such a force of nature itself as to leave me breathless."

“I believe until a man has given up himself he has given up nothing - all his knowledge of accepted aesthetics are of no avail until he has stepped aside from them and given up himself – himself only through the eyes of himself. What a problem everlasting then is it not? A life time of breathless endeavor to be the thing and do the thing of his being – So easy to travel along with claques and crowds, voicing vociferously the great discoveries of each – How ineffably difficult, voicing the soul of one man – alone to himself and – then to whomever else hears..”

“..by getting as close to the true idea of religion, of spirituality as it is possible for us to get.. .. we would be in possession of the only tangible relationship tot the deity in things.”

“What I have to express is not handled with words. It must 'come' tot the observer. It must carry its influence over the mind of the individual into that region of him which is more than the mind. The pictures must reach inwards into the deeper experiences of the beholder – and mind you they care in no sense religious tracts – there is no story to them or literature – no morals – they are merely artistic expressions of mystical states – these in themselves being my own personal motives as drawn from either special experiences or aggregate ones.”

“As soon as a real artist finds out what art is, the more is he likely to feel the need of keeping silent about it, and about himself in connection with it. There is almost, these days, a kind of petit scandale in the thought of allying oneself with anything of a professional nature. And it is at this point that I shrink a little from asserting myself with regard to professional aspects of art. And here the quality of confession must break through.”

“For wine, they drank the ocean – for bread, they ate their own despairs; counsel from the moon was theirs – for the foolish contention - Murder is not a pretty thing – yet seas do raucous everything to make it pretty – for the foolish or the brave, a way seas have.”

“..of what use is a painting which does not realize its aesthetical problem? Underlying all sensible works of art, there must be somewhere in evidence the particular problems understood. It was so with those artists of the great past who had the intellectual knowledge of structure upon which to place their emotions. It is this structural beauty that makes the old painting valuable. And so it becomes to me a problem. I would rather be sure that I had placed two colors in true relationship to each other than to have exposed a wealth of emotionalism gone wrong in the name of richness of personal expression.. .The real artists have always been interested in this problem, and you feel it strongly in the work of Da Vinci, Piero della Francesca, Courbet, Pissarro, Seurat, and Cezanne.”