But what is of great importance to me is observation of the movement of colors.
Vision is the true creative rhythm.
Painting is by nature a luminous language.
Light in Nature creates the movement of colors.
Impressionism; it is the birth of Light in painting.
Our understanding is correlative to our perception.
Simultaneity in light is harmony, the rhythm of colors which creates the Vision of Man.
Nature engenders the science of painting.
Art in Nature is rhythmic and has a horror of constraint.
The eye is the most refined of our senses, the one which communicates most directly with our mind, our consciousness.
If Art relates itself to an Object, it becomes descriptive, divisionist, literary.
The auditory perception is not sufficient for our knowledge of the world; it does not have vastness.
Light comes to us by the sensibility. Without visual sensibility there is no light, no movement.
In this movement of colors I find the essence, which does not arise from a system, or an a priori theory.
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.
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