FERNAND LEGER

Above all, it is a matter of loving art, not understanding it.

The craving for colour is a natural necessity just as for water and fire. Colour is a raw material indispensable to life. At every era of his existence and his history, the human being has associated colour with his joys, his actions and his pleasures.

The feat of superbly imitating a muscle, as Michelangelo did, or a face, as Raphael did, created neither progress nor a hierarchy in art. Because these artists of the sixteenth century imitated human forms, they were not superior to the artists of the high periods of Egyptian, Chaldean, Indochinese, Roman, and Gothic art who interpreted and stylized form but did not imitate it.

Man needs colour to live; it's just as necessary an element as fire and water.

This truth must be recognized as a dogma and assume the validity of an axiom in the general understanding of painting.

The realistic value of a work is completely independent of its properties in terms of content.

Colour is a human need like water and fire. It is a raw material indispensable to life

Modern man lives more and more in a preponderantly geometric order. All human creation mechanical or industrial is dependent upon geometric intentions.

I organize the opposition between colors, lines and curves. I set curves against straight lines, patches of color against plastic forms, pure colors against subtly nuanced shades of gray.

The Beautiful is everywhere; perhaps more in the arrangement of your saucepans on the white walls of your kitchen than in your eighteenth-century living room or in the official museums.

Man needs colour to live; it's just as necessary an element as fire and water.

This truth must be recognized as a dogma and assume the validity of an axiom in the general understanding of painting.

Enormous enlargements of an object or a fragment give it a personality it never had before, and in this way, it can become a vehicle of entirely new lyric and plastic power.

The realistic value of a work is completely independent of its properties in terms of content.

What does that represent? There was never any question in plastic art, in poetry, in music, of representing anything. It is a matter of making something beautiful, moving, or dramatic - this is by no means the same thing.

Colour is a human need like water and fire. It is a raw material indispensable to life

Modern man lives more and more in a preponderantly geometric order. All human creation mechanical or industrial is dependent upon geometric intentions.

Even a part of an object has value. A whole new realism resides in the way one envisages an object or one of its parts.

The Beautiful is everywhere; perhaps more in the arrangement of your saucepans on the white walls of your kitchen than in your eighteenth-century living room or in the official museums.

I organize the opposition between colors, lines and curves. I set curves against straight lines, patches of color against plastic forms, pure colors against subtly nuanced shades of gray.

The craving for colour is a natural necessity just as for water and fire. Colour is a raw material indispensable to life. At every era of his existence and his history, the human being has associated colour with his joys, his actions and his pleasures.

Above all, it is a matter of loving art, not understanding it.

The feat of superbly imitating a muscle, as Michelangelo did, or a face, as Raphael did, created neither progress nor a hierarchy in art. Because these artists of the sixteenth century imitated human forms, they were not superior to the artists of the high periods of Egyptian, Chaldean, Indochinese, Roman, and Gothic art who interpreted and stylized form but did not imitate it.