What is line? It is life. A line must live at each point along its course in such a way that the artist’s presence makes itself felt above that of the model... With the writer, line takes precedence over form and content. It runs through the words he assembles. It strikes a continuous note unperceived by ear or eye. It is, in a way, the soul’s style, and if the line ceases to have a life of its own, if it only describes an arabesque, the soul is missing and the writing dies.

A line is a dot that went for a walk.

Lines have expression, and by the use of lines alone we can suggest impressions.

The geometric line is an invisible thing. It is the track made by the moving point; that is, its product. It is created by movement – specifically through the destruction of the intense self-contained repose of the point. Here, the leap out of the static to the dynamic occurs. […] The forces coming from without which transform the point into a line, can be very diverse. The variation in lines depends upon the number of these forces and upon their combinations.

Always lines, never forms. Where do they find these lines in Nature? Personally I see only forms that are lit up and forms that are not, planes that advance and planes that recede, relief and depth. My eye never sees outlines or particular features or details... ...My brush should not see better than I do. [Goya, in a recall of an overheard conversation]

Only now I become conscious that my work in black, white and little color planes has been merely 'drawing' in oil color. In drawing, the lines are the principal means of expressions.. .In painting, however, the lines are absorbed by the color planes; but the limitations of the planes show themselves as lines and conserve their great value.

Science is a line, art a superficies, and life, or the knowledge of God, a solid.

The very fact that a Line is visible implies that it possesses yet another Dimension.

Our minds are artists, always drawing lines. Making decisions, differentiating One thing from another, Calling it something. This is the way we know. This is how we think. We define by drawing the line.

The line has in itself neither matter nor substance and may rather be called an imaginary idea than a real object; and this being its nature it occupies no space. Therefore an infinite number of lines may be conceived of as intersecting each other at a point, which has no dimensions and is only of the thickness (if thickness it may be called) of one single line.

A work based only on a line concept is scarcely more than a illustration; it fails to achieve pictorial structure. Pictorial structure is based on a plane concept. The line originates in the meeting of two planes ... we can lose ourselves in a multitude of lines, if through them we lose our senses for the planes.

The possibility of expressing life through lines can be established, if we suppose that life is essentially -- in virtue of what makes it alive -- a force, and if we suppose that the forces acting simultaneously or successively on the point in such a way as to produce what we call straight, curved, or angular lines are in reality the forces of life, and that no other forces exist. Not only each force but each drive within the framework of subjectivity has its immediate equivalent in a specific linear form, since the force's intensity, its changes, the time of its action, its interruptions and its returns have their exact corollary in the genus (straight, curved or zigzag line) and accidents (slope of the curve, length of various segments and degree of the angles) of the linear forms described above.

Morality, like art, means drawing a line someplace.

For this, to draw a right line from every point, to every point, follows the definition, which says, that a line is the flux of a point, and a right line an indeclinable and inflexible flow.