Painting is by nature a luminous language.

Vision is the true creative rhythm.

Nature engenders the science of painting.

Our understanding is correlative to our perception.

Art in Nature is rhythmic and has a horror of constraint.

Impressionism; it is the birth of Light in painting.

Light in Nature creates the movement of colors.

But what is of great importance to me is observation of the movement of colors.

Direct observation of the luminous essence of nature is for me indispensable.

I am very much afraid of definitions, and yet one is almost forced to make them. One must take care, too, not to be inhibited by them.

If Art relates itself to an Object, it becomes descriptive, divisionist, literary.

In this movement of colors I find the essence, which does not arise from a system, or an a priori theory.

Light comes to us by the sensibility. Without visual sensibility there is no light, no movement.

Seeing is in itself a movement.

Simultaneity in light is harmony, the rhythm of colors which creates the Vision of Man.

The auditory perception is not sufficient for our knowledge of the world; it does not have vastness.

The eye is the most refined of our senses, the one which communicates most directly with our mind, our consciousness.

The idea of the vital movement of the world and its movement is simultaneity.

This synchronous action then will be the Subject, which is the representative harmony.

First of all, I always see the sun! The way I want to identify myself and others is with halos here and there halos, movements of color. And that, I believe, is rhythm.