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Our understanding is correlative to our perception.
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.
Nature engenders the science of painting.
Light in Nature creates the movement of colors.
Light comes to us by the sensibility. Without visual sensibility there is no light, no movement.
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.
In this movement of colors I find the essence, which does not arise from a system, or an a priori theory.
Impressionism; it is the birth of Light in painting.
If Art relates itself to an Object, it becomes descriptive, divisionist, literary.
I say it is indispensable to look ahead of and behind oneself in the present. If there is such a thing as tradition, and I believe there is, it can only exist in the sense of the most profound movements of culture.
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.
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.
Direct observation of the luminous essence of nature is for me indispensable.
Believe In Yourself
Dont Judge Me
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