Nature morte au lapin ou Composition hors de son cadre. 1926.
	Papier dèchiré. 1927.

"When writing in Cahiers d'Art in 1927, Tériade rightly pointed out that my departure point was the plastic idea, pinpointing that " I achieved the development of such an idea as a principle by means of simple pictorial elements directed towards an immediate plastic, tactile effect," : "a sensual purity obtained without any anecdotal artifice ". And he added: " This idea consists almost always of making the most of contrast, of juxtaposing two or more opposing plastic elements with each other, albeit in terms of colour, or matter or consistency (for example, solids and fluids); or in terms of similar natures (cord, net, wire, mural surfaces, newspaper cuttings, delicately imitated folds of cardboard...). In this sensual struggle between elements that try to penetrate each other, to unite, to interrelate in an unexpected yet poetically pleasing manner, the painter, the conscious director of the movement, the only one responsible for the new world in creation, introduces his allusions to reality through mere plastic coincidence and through memories captured from the order of his dreams".

Nature morte transparente. 1930. .

"Painting is a sensual act; it can be considered as a fruit which we savour with our fingers, its skin identifying with our own".

	La Couturière. 1934.
	Le Bar des matelots. 1934.
	L'Été. 1944. .

"...Fancifulness and sensuality appear in all my paintings of that period, in a composition organized to achieve a synthesis similar to the impression created by one single visual moment. I insist that my purpose was to produce a more vivid sensation of space..."

	Le Pêcheur. 1951.
	Pomme rouge et Raisin bleu. 1957.
	Fraises et Citrons. 1962.
	Femme au citron. 1970.

"My constant search for space led me, in 1950, to another change: it is what the critics referred to as " the white way ". I continued aspiring to a greater luminosity, at the same time dematerialising the figures more and more. An attempt, in a certain way, to come closer to what the abstract painters sought to do through purely figurative means, and especially to obtain something different from that of all those schools or movements: to obtain a special transparency. I wondered where such experiences would lead me...

I now believe that I know: for two years I have been returning to my first attempts to create a plastic synthesis of truth. My painting, which long ago was dark, is today light. The composition, that was before very dense, I want now to be free and loose. In any case, the effort is the same... the cycle is coming to a close...".

Quotes from the artist.