A collection of short, reflective essays by a painter that privilege romantic vision and intuition over technical realism, treating colour as a mutable, almost spiritual force beyond pigments. Through meditations on trees and the limits of representation, the author argues that literal training and excessive knowledge can stifle true artistic feeling, and he champions silence, poetic language, and personal temperament as essential to creation. Individual chapters address rhythm, relation, critics, the middle class, extravagance, tragedy, genius, and the idea of a masterpiece, concluding with moral reflections on the artist’s mission and the tension between perception and portrayal.