"My habit of keeping a notebook of designs began in 1918. Before I drew on scraps of paper which I lost.Then I said to myself that it was necessary to keep a notebook. Since, I always have a notebook within reach, and I draw no matter what, I preserve everything that passes through my head. And I was aware that all that served me well. There are times when one has the desire to paint, but knows not what to paint. I don't know what is the cause of this but there are moments when one feels empty. There is a great appetite to work and then my sketchbook serves me as a cookbook when i am hungry. I open it and the least of the sketches can offer me material for work.
I make the background of my canvases with the greatest of care because it is the ground that supports the rest; it is like the foundations of a house. I am always very occupied and preoccupied with the material because there is as much sensitivity in the technique as in the rest of the painting. I prepare my own colors, I do the pulverizing... I work with the material, not with ideas.
In my painting I always return to the center. I am the contrary, therefore,to one I should call 'symphoniste'. In symphony the theme approaches the infinite; there are painters (Bonnard is an example) who develop their themes to the infinite.There is in their canvases something like diffuse light, while with me, on the contrary, I attempt to reach the core of intensity;
I concentrate. "
From Georges Braque's notebook.