MAURICE DE VLAMINCK

Vermilion alone could render the brilliant red of the tiles on the opposite slope. The orange of the soil, the harsh crude colors of the walls and greenery, the ultramarine and cobalt of the sky achieved an extreme harmony that was sensually and musically ordered.

I was poor but I knew that life is beautiful. And I had no other ambition than to discover with the help of new means those deep inner ties that linked me to the very soil.

I knew neither jealousy nor hate but was possessed by a rage to recreate a new world, the world which my eyes perceived, a world all to myself. I was poor but I knew that life is beautiful.

Only the series of colors on the canvas with all their power and vibrancy could, in combination with each other, render the chromatic feeling of that landscape.

What I could have done in real life only by throwing a bomb which would have led to the scaffold I tried to achieve in painting by using color of maximum purity. In this way I satisfied my urge to destroy old conventions, to disobey in order to re-create a tangible, living, and liberated world.

In art, theories are as useful as a doctor's prescription; one must be sick to believe them.

When I had spent a few days without thinking, without doing anything, I would feel a sudden urge to paint. Then I would set up my easel in full sunshine.

I seem initially to have followed Fauvism, and then to have followed in Cézanne's footsteps. Whatever - I do not mind... as long as first of all I remained Vlaminck.

I wanted to revolutionise habits and contemporary life - to liberate nature, to free it from the authority of old theories and classicism... I felt a tremendous urge to re-create a new world seen through my own eyes, a world which was entirely mine.

Good painting is like good cooking; it can be tasted, but not explained.

When I get my hands on painting materials I don't give a damn about other people's painting... every generation must start again afresh.

Good painting is like good cooking; it can be tasted, but not explained.

In art, theories are as useful as a doctor's prescription; one must be sick to believe them.

I wanted to revolutionise habits and contemporary life - to liberate nature, to free it from the authority of old theories and classicism... I felt a tremendous urge to re-create a new world seen through my own eyes, a world which was entirely mine.

When I had spent a few days without thinking, without doing anything, I would feel a sudden urge to paint. Then I would set up my easel in full sunshine.

I was a barbarian, tender and full of violence. I translated by instinct, without any method, not merely an artistic truth but above all a human one.

What I could have done in real life only by throwing a bomb which would have led to the scaffold I tried to achieve in painting by using color of maximum purity. In this way I satisfied my urge to destroy old conventions, to disobey in order to re-create a tangible, living, and liberated world.

Only the series of colors on the canvas with all their power and vibrancy could, in combination with each other, render the chromatic feeling of that landscape.

I was poor but I knew that life is beautiful. And I had no other ambition than to discover with the help of new means those deep inner ties that linked me to the very soil.

I seem initially to have followed Fauvism, and then to have followed in Cézanne's footsteps. Whatever - I do not mind... as long as first of all I remained Vlaminck.

I knew neither jealousy nor hate but was possessed by a rage to recreate a new world, the world which my eyes perceived, a world all to myself. I was poor but I knew that life is beautiful.

Vermilion alone could render the brilliant red of the tiles on the opposite slope. The orange of the soil, the harsh crude colors of the walls and greenery, the ultramarine and cobalt of the sky achieved an extreme harmony that was sensually and musically ordered.