Academics From Russia

"The Equality of the Citizens consists in this; that they should all be subject to the same Laws. This Equality requires Institutions so well adapted, as to prevent the Rich from oppressing those who are not so wealthy as themselves, and converting all the Charges and Employments intrusted to them as Magistrates only, to their own private Emolument...."

"They raised the Prince for the throne of Sweden in a court that was too large for the country in which it was located and that was divided into several factions, which hated each other and vied to control the Prince’s mind, which each faction wanted to shape. As a result, these factions inspired in him the reciprocal hatred they felt against the individuals they opposed."

"The Laws ought to be so framed, as to secure the Safety of every Citizen as much as possible."

"To tempt, and to be tempted, are things very nearly allied, and, in spite of the finest maxims of morality impressed upon the mind, whenever feeling has anything to do in the matter, no sooner is it excited than we have already gone vastly farther than we are aware of, and I have yet to learn how it is possible to prevent its being excited. Flight alone is, perhaps, the only remedy; but there are cases and circumstances in which flight becomes impossible, for how is it possible to fly, shun, or turn one's back in the midst of a court? The very attempt would give rise to remarks. Now, if you do not fly, there is nothing, it seems to me, so difficult as to escape from that which is essentially agreeable. All that can be said in opposition to it will appear but a prudery quite out of harmony with the natural instincts of the human heart; besides, no one holds his heart in his hand, tightening or relaxing his grasp of it at pleasure."

"The Usage of Torture is contrary to all the Dictates of Nature and Reason; even Mankind itself cries out against it, and demands loudly the total Abolition of it."

"You philosophers are lucky men. You write on paper and paper is patient. Unfortunate Empress that I am, I write on the susceptible skins of living beings."

"The Intention and the End of Monarchy, is the Glory of the Citizens, of the State, and of the Sovereign. But, from this Glory, a Sense of Liberty arises in a People governed by a Monarch; which may produce in these States as much Energy in transacting the most important Affairs, and may contribute as much to the Happiness of the Subjects, as even Liberty itself...."

"The Sovereign is absolute; for there is no other Authority but that which centers in his single Person, that can act with a Vigour proportionate to the Extent of such a vast Dominion. The Extent of the Dominion requires an absolute Power to be vested in that Person who rules over it. It is expedient so to be, that the quick Dispatch of Affairs, sent from distant Parts, might make ample Amends for the Delay occasioned by the great Distance of the Places. Every other Form of Government whatsoever would not only have been prejudicial to Russia, but would even have proved its entire Ruin."

"Your wit makes others witty."

"As a ruler, Catherine professed a great contempt for system, which she said she had been taught to despise by her master Voltaire. She declared that in politics a capable ruler must be guided by "circumstances, conjectures and conjunctions.""

"Assuredly men of merit are never lacking at any time, for those are the men who manage affairs, and it is affairs that produce the men. I have never searched, and I have always found under my hand the men who have served me, and for the most part I have been well served."

"A great wind is blowing, and that gives you either imagination or a headache."

"I will live to make myself not feared."

"The Governing Senate. . . has deemed it necessary to make known... that the landlords' serfs and peasants . . . owe their landlords proper submission and absolute obedience in all matters, according to the laws that have been enacted from time immemorial by the autocratic forefathers of Her Imperial Majesty and which have not been repealed, and which provide that all persons who dare to incite serfs and peasants to disobey their landlords shall be arrested and taken to the nearest government office, there to be punished forthwith as disturbers of the public tranquillity, according to the laws and without leniency. And should it so happen that even after the publication of the present decree of Her Imperial Majesty any serfs and peasants should cease to give the proper obedience to their landlords . . . and should make bold to submit unlawful petitions complaining of their landlords, and especially to petition Her Imperial Majesty personally, then both those who make the complaints and those who write up the petitions shall be punished by the knout and forthwith deported to Nerchinsk to penal servitude for life and shall be counted as part of the quota of recruits which their landlords must furnish to the army. And in order that people everywhere may know of the present decree, it shall be read in all the churches on Sundays and holy days for one month after it is received and therafter once every year during the great church festivals, lest anyone pretend ignorance."

"Power without a nation's confidence is nothing."

"It is better to be subject to the Laws under one Master, than to be subservient to many."

"What is the true End of Monarchy? Not to deprive People of their natural Liberty; but to correct their Actions, in order to attain the supreme Good. The Form of Government, therefore, which best attains this End, and at the same Time sets less Bounds than others to natural Liberty, is that which coincides with the Views and Purposes of rational Creatures, and answers the End, upon which we ought to fix a steadfast Eye in the Regulations of civil Polity."

"I like to praise and reward loudly, to blame quietly."

"We [ Franz Marc & Kandinsky] thought up the name [ Der Blaue Reiter (Blue Rider)] while sitting at a cafe table.. .Both of us were fond of blue things, [Franz] Marc of blue horses, and I of blue riders. So the title suggested itself."

"..I let myself go.. [in Kandinsky's Murnau-period when he was painting in open air; c. 1908 – 1914] I thought little of the houses and trees, but applied colour stripes and spots to the canvas with the knife and made them sing out as strongly as I could. Within me sounded the memory of early evening in Moscow, before my eyes was the strong, colour-saturated scale of the Munich light and atmosphere, which thundered deeply in the shadows."

"The horse carries the rider with power and speed. But the rider controls the horse. Talent carries the artist to great heights with power and speed. But the artist directs his talent. That is the element of 'consciousness', of 'calculation' in the work – or whatever else one chooses to call it."

"In many ways art is similar to religion. Its development consists not in new discoveries which invalidate the old truths (as is obviously the case in science). Its development consists in sudden illuminations, similar to lightning, in explosions, which burst in the sky like fireworks.. ..this illumination shows with blinding light new perspectives, new truths, which are basically nothing but the organic development, the further organic growth of the earlier wisdom.. .Was the New Testament possible without the Old? Could our time, that of the threshold of the 'third' revelation, be thinkable without the second?"

"[Art is] ..the mysterious expression of the mysterious.."

"The destruction of the atom [the split of it, in modern physics] seemed to me to be the same as the destruction of the world.. ..science to me appeared to be dead: its most important basis was only a lunacy, a mistake perpetrated by learned men.. ..who blindly mistook one object for another."

"At that time [c. 1904 – 1905] I tried, by means of lines and by distribution of mottled points of colours [in his tempera painting on paper: 'Russian Beauty in a Landscape', 1905] to express the musical spirit of Russia. Other pictures of that period reflected the contradictions and later the eccentricities of Russia."

"Painting is a thundering conflict of different worlds, which in and out of the battle with one another are intended to create the new world, which is called the world of art. Each work arises technically in a way similar to that in which the cosmos arose – through catastrophes, which from the chaotic roaring of the instruments finally create a symphony, the music of the spheres. The creation of the work is the creation of worlds."

"I thought that the painter had no right to paint so unclearly.. ..(but) the first faint doubt as to the importance of an 'object' as the necessary element in painting."

"..emotion that I experienced on first seeing the fresh paint come out of the tube.. ..the impression of colours strewn over the palette: of colours – alive, waiting, as yet unseen and hidden in their little tubes.."

"If the artist has outer and inner eyes for nature, nature rewards him by giving him inspiration."

"..the long Russian word for creation: 'proisvedenie' - so different from its shorter counterparts in English, French and German - expresses for me the whole history and process of creation, lengthy, mysterious, infinitely complex and foreshadowed by divine predestination."

"The first colours which made a strong impression on me were light juice green, white, crimson red, black and yellow ocher. These memories go back to the third year of my life. I saw these colours on various objects [houses and roofs, in Russia] which are not as clear in my mind as the colours themselves."

"You mention the circle and I agree with your definition.. ..why does the circle fascinates me? It is (1) the most modern form, but asserts itself unconditionally, (2) a precise but inexhaustible variable, (3) simultaneously stable and unstable, (4) simultaneously loud and soft, (5) a single tension that carries countless tensions within it. The circle is the synthesis of the greatest oppositions. It combines the concentric and the eccentric in a single form, and in balance. Of the three primary forms (triangle, square, circle), it points most clearly to the fourth dimension."

"Content is nothing but the sum of organized tensions. From this point of view one can discover the basic identity of the rules of composition in all arts – always accepting that the arts can only represent their object materially by means of organised reactions.. ..already today one can safely assume that the roots of laws of composition are the same for art as they are for nature."

"My wish [c. 1911].. ..of compiling a book (a kind of Almanac) in which all the contributions should be written by artists. I dreamt primarily of painters and musicians. The ruinous separation of the arts from each other, and of 'Art' from folk-art and from children's art, the distinction between 'Art' and 'Ethnography' [folk-art].. ..the solid walls erected between phenomena that in my eyes were so closely related, even identical: in a word, the potentialities for synthesis left me no peace. It may well seem strange today [1930] that for a long time I could not find any co-workers or any means to promote this idea.."

"The more abstract is form, the more clear and direct is its appeal. In any composition the material side may be more or less omitted in proportion as the forms used are more or less material, and for them substituted pure abstractions, or largely dematerialized objects. The more an artist uses these abstracted forms, the deeper and more confidently will he advance into the kingdom of the abstract. And after him will follow the gazer at his pictures, who also will have gradually acquired a greater familiarity with the language of that kingdom. Must we then abandon utterly all material objects and paint solely in abstractions? The problem of harmonizing the appeal of the material and the non-material shows us the answer to this question. As every word spoken rouses an inner vibration, so likewise does every object represented. To deprive oneself of this possibility is to limit one's powers of expression. That is at any rate the case at present. But besides this answer to the question, there is another, and one which art can always employ to any question beginning with "must": There is no "must" in art, because art is free."

"Generally speaking, colour is a power which directly influences the soul. Colour is the keyboard, the eyes are the hammer, the soul is the strings.The artist is the hand that plays, touching one key or another, to cause vibrations in the soul."

"It is never literally true that any form is meaningless and "says nothing." Every form in the world says something. But its message often fails to reach us, and even if it does, full understanding is often withheld from us.] and, properly speaking, FORM IS THE OUTWARD EXPRESSION OF THIS INNER MEANING."

"There is, however, in art another kind of external similarity which is founded on a fundamental truth. When there is a similarity of inner tendency in the whole moral and spiritual atmosphere, a similarity of ideals, at first closely pursued but later lost to sight, a similarity in the inner feeling of any one period to that of another, the logical result will be a revival of the external forms which served to express those inner feelings in an earlier age."

"Every work of art is the child of its age and, in many cases, the mother of our emotions. It follows that each period of culture produces an art of its own which can never be repeated. Efforts to revive the art-principles of the past will at best produce an art that is still-born. It is impossible for us to live and feel, as did the ancient Greeks. In the same way those who strive to follow the Greek methods in sculpture achieve only a similarity of form, the work remaining soulless for all time. Such imitation is mere aping. Externally the monkey completely resembles a human being; he will sit holding a book in front of his nose, and turn over the pages with a thoughtful aspect, but his actions have for him no real meaning."

"The life of the spirit may be fairly represented in diagram as a large acute-angled triangle divided horizontally into unequal parts with the narrowest segment uppermost. The lower the segment the greater it is in breadth, depth, and area."

"The work of art is born of the artist in a mysterious and secret way. From him it gains life and being. Nor is its existence casual and inconsequent, but it has a definite and purposeful strength, alike in its material and spiritual life."

"I would love to paint a large landscape of Moscow — taking elements from everywhere and combining them into a single picture—weak and strong parts, mixing everything together in the same way as the world is mixed of different elements. It must be like an orchestra.. .Suddenly I felt that my old dream was closer to coming true. You know that I dreamed of painting a big picture expressing joy, the happiness of life and the universe. Suddenly I feel the harmony of colors and forms that come from this world of joy."

"First I will make different color tests: I will study the dark – deep blue, deep violet, deep dirty green, etc. Often I see the colors before my eyes. Sometimes I imitate with my lips the deep sounds of the trumpet – then I see various deep mixtures which the word is uncapable od conceiving and which the palette can only feebly reproduce."

"I am working again on my painting 'Moscow' ['Moscow I' ('Москва I'), 1916]. It is slowly taking shape in my imagination. And what was in the realm of wishing is now assuming real forms. What I have been lacking with this idea was depth and richness of sound, very earnest, complex, and easy at the same time."

"Nor, on the other hand, are there any masculine charms [in Gabriele Münter's work] either: no 'sinewy brushwork', no heaps of paint, 'hurled on to the canvas'. The pictures are painted throughout with a delicately and correctly sensed measure of external strength, with not a trace of feminine or masculine coquetry in the 'making'. We could almost say that they are painted modestly; i. e. that they were inspired, not by a desire for outward display, but by a purely inward compulsion."

"We can only assert here, with especial satisfaction, that Gabriele Münters talent, robust, rooted in an inward strength and sensitivity, in fact genuinely German, should in no circumstances be assessed as masculin, or as 'quasi-masculine'. This talent – and we emphasize it, once more, with great satisfaction – can only be described as exclusively and purely feminine.. .Gabriele Münter doesn't paint feminine subjects, she does not work with feminine materials, and does not permit herself any feminine coquetry. Their are neither raptures, nor agreeable exterior elegance, nor appealing weaknesses to be found here."

"Of the 16 years that I have been living in Germany, I have given myself entirely to the German art world. How am I now suddenly supposed to feel myself a foreigner?"

"Kandinsky, Wassily – painter, printmaker and author – the first painter to base painting on purely pictorial means of expression and abandon objects in his pictures."

"All means are sacred when they are dictated by inner necessity. All means are reprehensible when they do not spring from the fountain of inner necessity... The artist must be blind to 'recognized' and 'unrecognized' form, deaf to the teachings and desires of his time. His open eyes must be directed to his inner life and his ears must be constantly attuned to the voice of inner necessity."

"If until now colour and form were used as inner agents, it was mainly done subconsciously. The subordination of composition to geometrical form is no new idea (cf. the art of the Persians). Construction on a purely spiritual basis is a slow business, and at first seemingly blind and unmethodical. The artist must train not only his eye but also his soul, so that it can weigh colours in its own scale and thus become a determinant in artistic creation. If we begin at once to break the bonds that bind us to nature and to devote ourselves purely to combination of pure colour and independent form, we shall produce works that are mere geometric decoration, resembling something like a necktie or a carpet. Beauty of form and colour is no sufficient aim by itself, despite the assertions of pure aesthetes or even of naturalists obsessed with the idea of "beauty". It is because our painting is still at an elementary stage that we are so little able to be moved by wholly autonomous colour and form composition. The nerve vibrations are there (as we feel when confronted by applied art), but they get no farther than the nerves because the corresponding vibrations of the spirit which they call forth are weak. When we remember however, that spiritual experience is quickening, that positive science, the firmest basis of human thought is tottering, that dissolution of matter is imminent, we have reason to hope that the hour of pure composition is not far away. The first stage has arrived."