Painters From Germany

"Before commencing this work I had begun to realize how children follow the Spirit."

"The one whom I honor most of all is Rembrandt. Rubens and Velasquez painted better than Rembrandt, but he was the greatest of all painters because he was most powerful humanly. His grasp of all things was from within out. He had something that surpassed all other painters-a great humanity. He is perhaps the only one who could have painted the Christ."

"..it become a lightning rod the following winter when Paul F. Schmidt purchased it for the Dresden Museum. Later when Hitler came to power, it was seized and displayed in the Nazi's Degenerate Art exhibition. It was captioned, "Slander against the German Heroes of the World War".. .In this painting, Dix leaves no one unscathed. He damns the military for butchering his generation, the public for its fascination with these reconstituted men and the cripples themselves for their undiminished national pride.. .It's location is currently unknown and it is presumed destroyed."

"During the war, Dix kept a diary and a sketchbook with which he chronicled his experience. They would provide material for a major work of fifty prints called simply, The War. Dix was profoundly affected by the war. He described a recurring nightmare in which he crawled through bombed out houses. His experience with war and its aftermath became a dominant theme in the art he produced after 1914."

"I had to experience how someone beside me suddenly falls over and is dead and the bullet has hit him squarely. I had to experience that quite directly. I wanted it. I'm therefore not a pacifist at all – or am I? Perhaps I was an inquisitive person. I had to see all that for myself. I’m such a realist, you know, that I have to see everything with my own eyes in order to confirm that it's like that. I have to experience all the ghastly, bottomless depths of life for myself; it's for that reason that I went to war, and for that reason I volunteered. [in the German army during world War 1. (1914-1918)]"

"Nobody wants to look at it. What is it all supposed to mean.. ..the old whores and the old, worn out women, and of life is cares?. .It doesn't make anybody happy. No gallery wants to exhibit it.[ his work]. Why do you even bother to paint it."

"[..it had been fun] to be able to draw in the midst of boredom and misery.."

"I had the feeling that there was a dimension of reality that had not been dealt with in art: the dimension of ugliness."

"RADIO – DADA DIX whose monumental painting 'Barricade' [now lost] created such a sensation in Dresden"

"Lice, rats, barbed wire, fleas, shells, bombs, caves, corpses, blood, liquor, mice, cats, gas, artillery, filth, bullets, mortars, fire, steel: that is what war is! It is all the work of the Devil!"

"My nerves fell apart before I saw the front this time, the decaying corpses and piercing wire; for a while, they made me harmless, locking me up in order to undertake a special diagnosis of whatever military ability I might still have. The nerves, every last fiber, repugnance, repulsion!"

"After Herberholz had shown me all sorts of techniques, I suddenly got very interested in etching. I had a lot to say, I had a subject. Wash off the acid, put on the aquatint: a wonderful technique that you can use to get as many different shades and tones as you want. The 'doing' aspect of art becomes tremendously interesting when you start doing etchings; you get to be a real alchemist."

"If I can't be famous, I want at least to be infamous."

"I'm a man who is concerned with reality. I have to see everything. I have to plumb the depths of life. And so I go to war. That's why I volunteered [in the German army]. And when I tell people that nowadays, they say, "Good grief, so Dix was an out-and-out militarist! How does that fit together? He painted a war picture that was so frightful, so horrific, and now he says he was a militarist?" Yes, that's just it! What I said was: "If you want to be a hero, you have to see this whole mess and still say yes to it."

"War too, must be seen as a natural occurrence."

"The metaphysics of substance. The strange feeling which comes over us when we sense: this is skin – this is bone – all in a single vision that is completely unearthly. The dreaminess of our existence mixed at the same time with the indescribably sweet illusion of reality."

"Arrival at break of dawn. Veiled giants stood sleepily in wet mist on Manhattan.. .Yes, New York is really grandiose. But it stinks of burned fat, just like the sacrificial meal of the slain enemies among the savages. But nevertheless – crazy, crazy, crazy! Babylon is a kindergarten compared with this, and the tower of Babel here becomes the mass erection of a monstrous and senseless will. I am sympathetic."

"And the evening of the big Vanity Fair arrived.. . Perre Rathbone and innumerable people received me in enormous halls. The reporter shot pictures and Mrs. Beckmann [Quappi, his wife] grinned – - o-la-La.. ..The whole story is a monumental caprice of my situation in Germany before the Nazi's."

"Is there to be no getting away from this loathsome vegetative physicality?.. .Utter contempt for the lewd enticements that always lure us back into life's clutches. And when, half-parched, we seek to quench our thirst, the gods laugh us to scorn."

"Thick rumors of imminent peace are in the air.. .Big spectacle with six or seven British tanks. In the afternoon, they played war once more at the Palaisplein [near Dam square in Amsterdam center] and at the Rokin [street where Beckmann lived for 8 years, as 'entartete' German artist under German occupation; The Netherlands was liberated by the Allies, 5 May 1945]."

"The world is rather shot to pieces [end of World War II - 1945], but the spectators climb out of their caves and pretend to have again become normal and customary humans who ask each other's pardon instead of eating one another or sucking each other's blood. The entertaining folly of war evaporates, distinguished boredom sits down again on the dignified old overstuffed chairs.. .May I report about myself that I have had a truly grotesque time, brim-full with work, Nazi persecutions, bombs, hunger, and again and again work – in spite of everything [a. o. using his bed sheets as canvas for the new paintings]"

"Well - not quite yet - green police [the Germans] still driving around with machine guns, etc. Nevertheless big peace party with warning by Eisenhower. - Walked around in the city [Amsterdam], much drunkenness.."

"Learn by heart the forms to be found in nature, so that you can use them like the notes in a musical composition. That is what these forms are for. Nature is a marvelous chaos, and it is our job and our duty to bring order into that chaos and – to perfect it."

"Very worried and nerveux for 1944. Life is dark – as is death. Close 1943."

"Saw the English [pilots] coming from the sea in huge bands like the bristling hair of Zeus Jupiter. Heard all destroyed in Frankfurt. Sad... (12 April 1944)"

"Even our own cadaver-bones shall not hinder us from standing our ground until the very last, proud and tired in the face of the black wall that surrounds us."

"He would had always seen the world as 'chaos' and 'grief' (the mad and violent world he tried to control in paintings like 'The Destruction of Messina' [Beckmann's early painting in 1909] and who relied on his art 'to order this chaos.. ..to give it form' now found himself overwhelmed by formlessness and horror, helpless. [Beckmann was a medic in the first World War] ..After less than a year and a half, he had broken down in mind and body and was invalided out of service [in 1915]."

"Afternoon with Q. [Quappi, his second wife] on foot, looking for butter and coals – in vain."

"At 10 o'clock a Dutch girl came by Lütjens: ! PEACE!"

"Today I wanted to die of weakness and melancholy again."

"A human face, a hand, a woman's breast or a manly body, an expression of conflicting joy and pain, the infinite ocean, savage crags, the melancholy speech of black trees against the snow, the fierce power of spring blossoms and the heavy lethargy of a hot summer noon when our old friend Pan is asleep and the ghost of noon are murmuring – all this is enough to make us forget the sorrows of the world, or to give them form. In any case the determination to give form to things brings with it part of the solution for which you are seeking. The path is hard and the goal can never be reached – but it is a path."

"As a painter, cursed or blessed with a terrible and vital sensuousness, I must look for wisdom with my eyes. I repeat, with my eyes, for nothing could be more ridiculous or irrelevant than a 'philosophical conception' painted purely intellectually without the terrible fury of the senses grasping each visible form of beauty and ugliness."

"It is, of course, a luxury to create art and, on top of this, to insist on expressing one's own artistic opinion. Nothing is more luxurious than this. It is a game and a good game, at least for me; one of the few games which make life, difficult and depressing as it is sometimes, a little more interesting."

"All important things in art since Ur of the Chaldea's, since Tel Halaf and Crete, have always originated from the deepest feeling about the mystery of Being. Self-realization is the urge of all objective spirits. It is this Ego for which I am searching in my life and in my art. Art is creative for the sake of realization, not for amusement, for transfiguration, not for the sake of play. It is the quest of our Ego that drives us along the eternal and never-ending journey we must all make."

"The Ego is the great veiled mystery of the world.. .I believe in it and in its eternal, immutable form. Its path is, in some strange and peculiar manner, our path. And for this reason I am immersed in the phenomenon of the Individual, the so-called whole Individual, and I try in every way to explain and present it. What are you? What am I? Those are the questions that constantly persecute and torment me and perhaps also play some part in my art."

"One of my problems is to find the Ego, which has only one form and is immortal – to find it in animals and men, in the heaven and in the hell which together form the world in which we live."

"Often, very often, I am alone. My studio in Amsterdam, [Beckmann lived and worked in the heart of Amsterdam during World War 2.] an enormous old tobacco storeroom is again filled in my imagination with figures from the old days and from the new, like an ocean moved by storm and sun and always present in my thoughts. Then shapes become beings and seem comprehensible to me in the great void and uncertainty of the space which I call god."

"My first informed impression, and what I would like to achieve, I can perhaps only realize when I am impelled as in a vision. One of my figures, perhaps one from the Temptation, sang his strange song to me one night – ..We are playing hide-and-seek, we are playing hide-and-seek across a thousand seas, we gods.. ..when the skies are red in the middle of the night, when the skies are red at night. You cannot see us, you cannot see us but you are ourselves.. ..that is what makes us laugh so gaily.. .Stars are our eyes and nebulae our beards.. ..we have people's souls for our hearts. We hide ourselves and you cannot see us, which is just what we want."

"Imagination is perhaps the most decisive characteristic of mankind. My dream is the imagination of space – to change the optical impression of the world of objects by a transcendental arithmetic progression of the inner being. That is the precept. In principal any alteration of the object is allowed which has a sufficiently strong creative power behind it. Whether such alteration causes excitement or boredom in the spectator is for you to decide."

"The individual representation of the object, treated sympathetically or anti-pathetically, is highly necessary and is an enrichment to the world in form. The elimination of the human relationship causes the vacuum which makes all of us suffer in various degrees – an individual alteration of the details of the object represented is necessary in order to display on the canvas the whole physicals reality."

"It is not the subject which matters but the translation of the subject into the abstraction of the surface by means of painting. Therefore I hardly need to abstract things, for each object is unreal enough already, so unreal that I can only make it real by means of painting."

"Everything intellectual and transcendent is joined together in painting by the uninterrupted labour of the eyes. Each shade of a flower, a face, a tree, a fruit, a sea, a mountain, is noted eagerly by the intensity of the senses to which is added, in a way of which we are not conscious, the work of the mind, and in the end the strength or weakness of the soul.. .It is the strength of soul which forces the mind to constant exercise to widen its conception of space. Something of this is perhaps contained in my pictures."

"One thing is sure – we have to transform the three-dimensional world of objects into the two-dimensional world of the canvas.. .To transform three into two dimensions is for me an experience full of magic in which I glimpse for a moment that fourth dimension which my whole being is seeking."

"Space and space again, is the infinite deity which surrounds us and in which we are ourselves contained."

"Painting is a very difficult thing. It absorbs the whole man, body and soul – thus I have passed blindly many things which belong to the real and political life. I assume, though, that there are two worlds: the world of spiritual life and the world of political reality. Both are manifestations of life which may sometimes coincide but are very different in principle. I must leave it to you [the audience] to decide which is the more important."

"'Departure' [also the title of a famous triptych painting of Max Beckmann], yes departure from the illusion of life toward the essential things that wait behind appearance.. .We must insist that Departure is not bound to a political trend, but is symbolic for all times."

"Put the picture away or, preferably, send it back to me, dear Valentin. If people cannot understand it is based on their inner engagement with these matters, then there is no point in showing the thing at all."

"All things come to me in black and white like virtue and crime. Yes, black and white are the two elements which concern me. It is my fortune, or misfortune, that I can see neither all in black nor all in white.. .I cannot help realizing both, for only in the two, only in black and white, can I see God as a unity creating again and again a great and eternally changing terrestrial drama."

"Politics is a subordinate matter; its form of appearance constantly changes depending on the needs of the masses, the same way cocottes adjust to the needs of men by transforming and masking themselves. Because of that it is not fundamental. That is about what endures, what is unique, what is in the stream of illusions – what is eliminated from the workings of the shadows."

"I want to stay here [Amsterdam] for now, then maybe move on to Paris later on. For the interim, Amsterdam is not bad."