Why not inadmissible, too, for drawing and graphic work? A drawing record a visual experience. An oil painting, because of its uniquely large range of tones, textures and colours, pretends to reproduce the visible. The difference is very great. The virtuoso performance of the oil painting assembles all aspects of the visible to conduct them to a single point: the point of view of the empirical onlooker. And it insists that such a view constitutes visibility itself. Graphic work, with its limited means, is more modest; it only claims a single aspect of visual experience, and therefore is adaptable to different uses.

Millet and the Peasant, 1976
Millet's life's work shows how nothing can resolve this conflict unless the hierarchy of our social and cultural values is radically altered.

Courbet and the Jura, 1978
The region in which a painter passes his childhood and adolescence often plays an important part in the constitution of his vision. The Thames developed Turner. The cliffs around Le Havre were formative in the case of Monet. Courbet grew up in - and throughout his life painted and often returned to - the valley of the Loue on the western side of the Jura mountains. [...] It is a place where the visible is discontinuous.

An Article of Faith, 1968
This was confidently based upon values born of the machine and modern technology: values of order, precision and mathematics. Yet the programme of this aesthetic was formulated when a chaotic, untidy, unpredictable amd desperate ideological factor was becoming the crucial one in social development.