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I should have considered it wrong to have finished the Frieze before the room for its accommodation and the funds for its completion were available.
I painted the picture, and in the colors the rhythm of the music quivers. I painted the colors I saw.
I learned early about the misery and dangers of life, and about the afterlife, about the external punishment which awaited the children of sin in Hell.
I have no fear of photography as long as it cannot be used in heaven and in hell.
I find it difficult to imagine an afterlife, such as Christians, or at any rate many religious people, conceive it, believing that the conversations with relatives and friends interrupted here on earth will be continued in the hereafter.
I build a kind of wall between myself and t he model so that I can paint in peace behind it. Otherwise, she might say something that confuses and distracts me.
From my rotting body, flowers shall grow and I am in them and that is eternity.
For as long as I can remember I have suffered from a deep feeling of anxiety which I have tried to express in my art.
Disease, insanity, and death were the angels that attended my cradle, and since then have followed me throughout my life.
Death is pitch-dark, but colors are light. To be a painter, one must work with rays of light.
By painting colors and lines and forms seen in quickened mood I was seeking to make this mood vibrate as a phonograph does. This was the origin of the paintings in The Frieze of Life.
A person himself believes that all the other portraits are good likenesses except the one of himself.
Without fear and illness, I could never have accomplished all I have.
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