“There is no blue without yellow and without orange, and if you put in blue, then you must put in yellow, and orange too, mustn't you? Oh well, you will tell me that what I write to you are only banalities.”

“Blue to get ready
Green to go
Yellow to guide you through the snow
Orange to warn you that over you’ll go
Then red will be the final glow
Now seek the black, there’s no going back.”

“You know my tendency is always to imagine things in my head and to work from this idea. I am going to explain my theory of blue, yellow and red, which will probably seem as 'Spanish' to you as my face.
Blue is the male principle, astringent and spiritual. Yellow is the female principle, gentle, gay and spiritual. Red is matter, brutal and heavy and always the color to be opposed and overcome by the other two. For example, if you mix serious, spiritual blue with red, you intensify the blue to unbearable sorrow, and yellow the conciliatory, the complementary color to purple, becomes indispensable... If you mix red and yellow to make orange, you turn passive, feminine yellow into a Fury, with sensual force that again makes cool, spiritual blue indispensable, the man..”

“At present I absolutely want to paint a starry sky. It often seems to me that night is still more richly coloured than the day; having hues of the most intense violets, blues and greens. If only you pay attention to it you will see that certain stars are lemon-yellow, others pink or a green, blue and forget-me-not brilliance. And without my expatiating on this theme it is obvious that putting little white dots on the blue-black is not enough to paint a starry sky.”

“When the light turns green, you go. When the light turns red, you stop. But what do you do when the light turns blue with orange and lavender spots?”

“I try to fill the emptiness deep inside me with Cheetos, but I am still depressed. Only now my fingers are stained orange. I am blue. And I am orange.”

“The yellow moon turned orange and was soon red as the setting sun.”

“Opposites are:
for tone, a more luminous/lighter one for a darker one.
for tint, the complementaries, that is, a certain red opposed to its complementary, etc.
Red — Green
Orange — Blue
Yellow — Violet
for line, those making a right angle.”

“If you knew Peggy Sue — then you'd know why I feel blue
Without Peggy — my Peggy Sue.
Oh well, I love you gal — yes, I love you Peggy Sue.Peggy Sue, Peggy Sue — oh how my heart yearns for you.
Oh Peggy — my Peggy Sue.
Oh well, I love you gal — yes, I love you Peggy Sue.”

“Neo-Impressionist method is an attempt is made to achieve the richness of the sunlight spectrum with all its tones. An orange that blends with yellow and red, a violet that tends toward red and blue, a green between blue and yellow are, with white the sole elements. Through mixture (in the eye of the observer) of these pure colours, whose relationship can be varied at will, from the most brilliant to the greyish. Every brush stroke that is taken from the palette remains pure on the canvas.”