His whole tendency is a negation of the main tenets of the gospel of Cézanne whose conception of form he rejects, together with Monet’s conception of light and color. To him both are non-existent. Instead he endeavors “to produce with his work an impression, not with the subject, but the manner in which he expresses it,” to quote his confrère, Marius De Zayas, who studied the raison d’être of this work, together with Picasso. Describing his process of aesthetic deduction further, M. De Zayas tells us that “he (Picasso) receives a direct impression from external nature; he analyzes, develops, and translates it, and afterwards executes it in his own particular style, with the intention that the picture should be the pictorial equivalent of the emotion produced by nature. In presenting his work he wants the spectator to look for the emotion or idea generated from the spectacle and not the spectacle itself. “From this to the psychology of form there is but one step, and the artist has given it resolutely and deliberately. Instead of the physical manifestation he seeks in form the psychic one, and on account of his peculiar temperament, his psychical manifestation inspires him with geometrical sensations. When he paints he does not limit himself to taking from an object only those planes which the eye perceives, but deals with all those which, according to him, constitute the individuality of form; and with his peculiar fantasy he develops and transforms them. “And this suggests to him new impressions, which he manifests with new forms, because from the idea of the representation of a being, a new being is born, perhaps different from the first one, and this becomes the represented being. Each one of his paintings is the coefficient of the impressions that form has performed in his spirit, and in these paintings the public must see the realization of an artistic ideal, and must judge them by the abstract sensation they produce, without trying to look for the factors that entered into the composition of the final result. “As it is not his purpose to perpetuate on canvas an aspect of the external world, by which to produce an artistic impression, but to represent with the brush the impression he has directly received from nature, synthesized by his fantasy, he does not put on the canvas the remembrance of a past sensation, but describes a present sensation.... In his paintings perspective does not exist; in them there are nothing but harmonies suggested by form, and registers which succeed themselves, to compose a general harmony which fills the rectangle that constitutes the picture.