One can easily tell that the creator of the paintings in the Sistine Chapel was above all a sculptor.

By painting colors and lines and forms seen in quickened mood I was seeking to make this mood vibrate as a phonograph does. This was the origin of the paintings in The Frieze of Life.

Painting picture by picture, I followed the impressions my eye took in at heightened moments. I painted only memories, adding nothing, no details that I did not see. Hence the simplicity of the paintings, their emptiness.

When I started out, I wanted to paint the Sistine Chapel. But I didn't have the content.

This kind of painting with its large frames is a bourgeois drawing-room art. It is an art dealer's art-and that came in after the civil wars following the French Revolution.

I have no fear of photography as long as it cannot be used in heaven and in hell.