With Andy Cole up front they can score at any time. We'll be watching him very closely.
The teams who play against us don't give us any gifts, but we were too kind.
It's important to score some goals and make the decisive pass for my club.
I've always felt happy at Newcastle. But things have gone a bit differently for me since we got a new manager.
Charlton are a team who play well on the ball, but they found it hard to break us down, they didn't really have an out and out chance in front of our goal.
My aim is for ripeness of form. I want to make my forms so full, so juicy that one could add nothing more to them.
Without philosophy man cannot know what he makes; without religion he cannot know why.
Art is skill, that is the first meaning of the word.
Science is analytical, descriptive, informative. Man does not live by bread alone, but by science he attempts to do so. Hence the deadliness of all that is purely scientific.
The older I grow, the more I find myself alone.
Only reality interests me now and I know I could spend the rest of my life in copying a chair.
Once the object has been constructed, I have a tendency to discover in it, transformed and displaced, images, impressions, facts which have deeply moved me.
It was always disappointing to see that what I could really master in terms of form boiled down to so little.
It is impossible to do a thing the way I see it because the closer I get the more differently I see.
In the past I have never thought about loneliness when working, and I don't think about it now. Yet there must be a reason for the fact that so many people talk about it.
I've been fifty thousand times to the Louvre. I have copied everything in drawing, trying to understand.
I paint and sculpt to get a grip on reality... to protect myself.
I don't know if I work in order to do something, or in order to know why I can't do what I want to do.
All the sculptures of today, like those of the past, will end one day in pieces... So it is important to fashion ones work carefully in its smallest recess and charge every particle of matter with life.
If only someone else could paint what I see, it would be marvellous, because then I wouldn't have to paint at all.
Artistically I am still a child with a whole life ahead of me to discover and create. I want something, but I won't know what it is until I succeed in doing it.
All I can do will only ever be a faint image of what I see and my success will always be less than my failure or perhaps equal to the failure.
I've tried doing so, for it was never my intention to paint only with gray. But in the course of my work I have eliminated one color after another, and what has remained is gray, gray, gray!
When you look at art made by other people, you see what you need to see in it.
That's the terrible thing: the more one works on a picture, the more impossible it becomes to finish it.
In every work of art the subject is primordial, whether the artist knows it or not. The measure of the formal qualities is only a sign of the measure of the artist's obsession with his subject; the form is always in proportion to the obsession.
Realizing this, I knew that the actual space of a room could be broken down and played with by planting illusions of real light (electric light) at crucial junctures in the room's composition.
One might not think of light as a matter of fact, but I do. And it is, as I said, as plain and open and direct an art as you will ever find.
My icons do not raise up the blessed savior in elaborate cathedrals. They are constructed concentrations celebrating barren rooms. They bring a limited light.
A piece of wall can be visually disintegrated from the whole into a separate triangle by plunging a diagonal of light from edge to edge on the wall; that is, side to floor, for instance.
