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What I wanted to do was to paint sunlight on the side of a house.
Well, I've always been interested in approaching a big city in a train, and I can't exactly describe the sensations, but they're entirely human and perhaps have nothing to do with aesthetics.
Well, I have a very simple method of painting.
There will be, I think, an attempt to grasp again the surprise and accidents of nature and a more intimate and sympathetic study of its moods, together with a renewed wonder and humility on the part of such as are still capable of these basic reactions.
There is a sort of elation about sunlight on the upper part of a house.
The trend in some of the contemporary movements in art, but by no means all, seems to deny this ideal and to me appears to lead to a purely decorative conception of painting.
The question of the value of nationality in art is perhaps unsolvable.
The only real influence I've ever had was myself.
Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again become great.
No amount of skillful invention can replace the essential element of imagination.
More of me comes out when I improvise.
Maybe I am not very human - what I wanted to do was to paint sunlight on the side of a house.
It's to paint directly on the canvas without any funny business, as it were, and I use almost pure turpentine to start with, adding oil as I go along until the medium becomes pure oil. I use as little oil as I can possibly help, and that's my method.
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