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Some colors reconcile themselves to one another, others just clash.
Sickness, insanity and death were the angels that surrounded my cradle and they have followed me throughout my life.
Painting picture by picture, I followed the impressions my eye took in at heightened moments. I painted only memories, adding nothing, no details that I did not see. Hence the simplicity of the paintings, their emptiness.
One can easily tell that the creator of the paintings in the Sistine Chapel was above all a sculptor.
Oil-painting is a developed technique. Why go backwards?
No longer shall I paint interiors with men reading and women knitting. I will paint living people who breathe and feel and suffer and love.
Nature is not only all that is visible to the eye... it also includes the inner pictures of the soul.
It was always my intention that The Frieze should be housed in a room which would provide a suitable architectural frame for it.
In my childhood I always felt that I was treated unjustly, without a mother, sick, and with the threat of punishment in Hell hanging over my head.
In common with Michelangelo and Rembrandt I am more interested in the line, its rise and fall, than in color.
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.
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