The human understanding, when any preposition has been once laid down... forces everything else to add fresh support and confirmation; and although more cogent and abundant instances may exist to the contrary, yet it either does not observe them or it despises them, or it gets rid of and rejects them by some distinction, with violent and injurious prejudice, rather than sacrifice the authority of its first conclusions.
There is a difference between happiness and wisdom: he that thinks himself the happiest man is really so; but he that thinks himself the wisest is generally the greatest fool.
I think that one of the things is that, if you are going to decide to be a painter, you have got to decide that you are not going to be afraid of making a fool of yourself. I think another thing is to be able to find subjects which really absorb you to try and do. I feel that without a subject you automatically go back into decoration because you haven't got the subject which is always eating into you to bring it back - and the greatest art always returns you to the vulnerability of the human situation.
Great art is deeply ordered. Even if within the order there may be enormously instinctive and accidental things, nevertheless they come out of a desire for ordering and for returning fact onto the nervous system in a more violent way.
But by far the greatest hindrance and aberration of the human understanding proceeds from the dullness, incompetency, and deceptions of the senses; in that things which strike the sense outweigh things which do not immediately strike it, though they be more important. Hence it is that speculation commonly ceases where sight ceases; insomuch that of things invisible there is little or no observation.
Painting is a duality and abstract painting is an entirely aesthetic thing. It always remains on one level. It is only really interesting in the beauty of its patterns or its shapes.