It is this research into pure painting that is the problem at the present moment. I do not know any painters in Paris who are really searching for this ideal world.

On the other hand, the artist has much to do in the realm of color construction, which is so little explored and so obscure, and hardly dates back any farther than to the beginning of Impressionism.

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

Seeing is in itself a movement.

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

Light in Nature creates the movement of colors.

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

Impressionism it is the birth of Light in painting.

But what I attach great importance to is observation of the movement of colors. It is only in this way that I have found the laws of complementary contrast and the simultaneity of those colors that nourish the rhythm of my vision. There I find the representative essence — which does not arise from a system or an a priori theory.

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

Nature engenders the science of painting

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

Human vision is endowed with the greatest Reality, since it comes to us directly from the contemplation of the Universe.