If ever a painter wrought a miracle of illusion with brush and pigment that painter was Velazquez in his Las Meninas, at the Prado in Madrid.

The older I become, the more I realize that drawing is the most important of all the problems of picture-making.

Go to nature with no parti pris. You should not know what your picture is to look like until it is done. Just see the picture that is coming.

How long did it take me to delimit this art? Twenty years! ... It was a laborious process, but a methodical and rational one gradually the hesitations were ironed out, but not all of a sudden.

I could not paint at all if I had to paint slowly. Every effect is so transient, it must be rapidly painted.

The great difficulty with large canvases is that they should by right be painted as fast as a sketch. By speed only can you gain an appearance of fleeting effect. But to paint a three yard canvas with the same dispatch as one of ten inches is well-nigh impossible.

As far as outdoor work is concerned, a studio is only a garage a place in which to store pictures and repair them, never a place in which to paint them.

When an artist begins to count strokes instead of regarding nature he is lost. This preoccupation with technique, at the expense of truth and sincerity, is the principal fault I find in much of the work of modern painters.

A studio is a good place to smoke your pipe.

With all its excesses, the modern impressionistic movement has given us one discovery, the color violet. It is the only discovery of importance in the art world since Velazquez.

I do not care to paint portraits indoors. I cannot feel sympathetic.

No, mes amis, impressionism is not charlatanry, nor a formula, nor a school. I should say rather it is the bold resolve to throw all those things overboard.

I hate darkness. Claude Monet once said that painting in general did not have light enough in it. I agree with him. We painters, however, can never reproduce sunlight as it really is. I can only approach the truth of it.