French Quotes

For me, socialism has always been about liberty and solidarity, but also about responsibility.

Even in Britain, the trade unions tell me that employment contracts have less protection than in the past.

Cinema explains American society. It's like a Western, with good guys and bad guys, where the weak don't have a place.

Any union that can't accept workers choosing their own representatives through universal franchise is finished.

We have to struggle against the conservatives from all sides, not only the right-wingers, but also the left-wing conservatives who don't want to change anything.

The problem of how we finance the welfare state should not obscure a separate issue: if each person thinks he has an inalienable right to welfare, no matter what happens to the world, that's not equity, it's just creating a society where you can't ask anything of people.

You believe in God, then you don't believe anymore and when you have a big problem, you pray anyway.

In love, we have to dare everything if we really love.

I knew everything and received everything. But real happiness, is giving.

I do very well three things: my job, stupidities and children.

Chance makes our parents, but choice makes our friends.

Fate chooses our relatives, we choose our friends.

They are vestals who do not have anything has to keep.

The philosopher creates, he doesn't reflect.

This synchronous action then will be the Subject, which is the representative harmony.

This communication alone, by the comparison of the antagonisms, rivalries, movements which give birth to decisive moments, permits the evolution of the soul, whereby a man realizes himself on earth. It is impossible to be concerned with anything else in art.

The idea of the vital movement of the world and its movement is simultaneity.

The eye is the most refined of our senses, the one which communicates most directly with our mind, our consciousness.

The auditory perception is not sufficient for our knowledge of the world; it does not have vastness.

Simultaneity in light is harmony, the rhythm of colors which creates the Vision of Man.

Seeing is in itself a movement.

On the other hand, the artist has much to do in the realm of color construction, which is so little explored and so obscure, and hardly dates back any farther than to the beginning of Impressionism.

Light in Nature creates the movement of colors.

Light comes to us by the sensibility. Without visual sensibility there is no light, no movement.

It is this research into pure painting that is the problem at the present moment. I do not know any painters in Paris who are really searching for this ideal world.

In this movement of colors I find the essence, which does not arise from a system, or an a priori theory.

If Art relates itself to an Object, it becomes descriptive, divisionist, literary.

I say it is indispensable to look ahead of and behind oneself in the present. If there is such a thing as tradition, and I believe there is, it can only exist in the sense of the most profound movements of culture.

I am very much afraid of definitions, and yet one is almost forced to make them. One must take care, too, not to be inhibited by them.

First of all, I always see the sun! The way I want to identify myself and others is with halos here and there halos, movements of color. And that, I believe, is rhythm.