Time extracts various values from a painter's work. When these values are exhausted the pictures are forgotten, and the more a picture has to give, the greater it is.

The painter goes through states of fullness and evacuation. That is the whole secret of art. I go for a walk in the forest of Fontainebleau. I get 'green' indigestion. I must get rid of this sensation into a picture. Green rules it. A painter paints to unload himself of feelings and visions. People seize on painting to cover up their nakedness. They get what they can wherever they can. In the end I don't believe they get anything at all. They've simply cut a coat to the measure of their own ignorance. They make everything, from God to a picture, in their own image. That is why the picture-hook is the ruination of a painting. [Boisgeloup, winter 1934].

A good portrait can only be made by reconciling all our contradictory features, and it is not enough to follow through a series of mutually compatible qualities without reconciling their opposites; to understand an author’s meaning all contradictory passages must be reconciled.

The excuse that the painters were documenting reality was becoming ridiculous. Photographers and film makers went far beyond them. Already it could be said that a good portrait led one to think about the painter not the model.

The making of a picture involves two processes: a taking in of the impression and giving out of it by the visible expression. (....) The degree of beauty in a picture depends upon the feeling for beauty in the artist and his power to express it.

With each story we tell ourselves, we negate possibility. Reality is diminished. Rooms of the self are walled off. Truth collapses to fit a fictional organizing principle we’ve adopted. As artists, we’re called to let go of these stories, again and again, and blindly put our faith in the curious energy drawing us down the path. The artwork

The interval during which a painting is mistaken for the real thing, or a real thing for a painting, is the triumphant moment of trompe l'oeil art. The artist appears to be potent as nature, if not superior to it. Almost immediately, though, the spectator's uncertainty is eliminated by his recognition that the counterfeit is counterfeit. Once the illusion is dissolved, what is left is an object that is interesting not as a work of art but as a successful simulation of something that is not art. The major response to it is curiosity: "How did he do it?"

An honest self-portrait is extremely rare because a man who has reached the degree of self-consciousness presupposed by the desire to paint his own portrait has almost always also developed an ego-consciousness which paints himself painting himself, and introduces artificial highlights and dramatic shadows.

The artist should not only paint what he sees before him, but also what he sees in himself. If, however, he sees nothing within him, then he should also refrain from painting what he sees before him. Otherwise his pictures will be like those folding screens behind which one expects to find only the sick or the dead.