Academics From Switzerland

"I am armed, I am not here, / I am in the depths, am far away ... / I am far away ... / I glow amidst dead."

"Reality and dream simultaneously, and myself makes a third in the party, completely at home here. This will be fine."

"The pictorial work was born of movement, is itself recorded movement, and is assimilated through movement (eye muscles)."

"These are primitive beginnings in art, such as one usually finds in ethnographic collections or at home in one's nursery. Do not laugh, reader! Children also have artistic ability, and there is wisdom in their having it! The more helpless they are, the more instructive are the examples they furnish us; and they must be preserved from corruption at an early age. Parallel phenomena are provided by the works of the mentally diseased; neither childish behaviour nor madness are insulting words here, as they commonly are. All this is to be taken very seriously, more seriously than all the public galleries, when it comes to reforming today's art."

"Now Delaunay wrote and sent me an article by himself about himself."

"Graphic work as the expressive movement of the hand holding the recording pencil.. ..is so fundamentally different from dealing with tone and color that one can use this technique quite well in the dark, even in the blackest night. On the other hand, tone (movement from light to dark) presupposes some light, and color presupposes a great deal of light."

"The longer my production moves in a definite direction, the less gaily it progresses. But just now something new seems to be happening to the stream: it is broadening into a lake. I hope it will not lack a corresponding depth. I was the faithful image of a part of art history; I moved towards Impressionism and beyond it. I don't want to say that I grew out of it; I hope this is not so.. .In lucid moments, I now have a clear view of twelve years of the history of my inner self. First the cramped self, that self with the big blinkers, then the disappearance of the blinkers and the self, now gradually the re-emergence of a self without blinkers. It is good that one didn't know this in advance."

"His [ Vincent van Gogh's] line is new and yet very old, and happily not a purely European affair. It is more a question of reform than of revolution."

"[It].. ..is a real declaration of love toward art. Abstraction from this world more as a game, less as a failure of the earthly. Somewhere in between. The man in love no longer drinks and eats.."

"In my productive activity, every time a type grows beyond the stage of its genesis, and I have about reached the goal, the intensity gets lost very quickly, and I have to look for new ways. It is precisely the way which is productive - this is the essential thing: becoming is more important than being."

"[I] launched a new offensive against the fortress of painting. First, white thinned out in linseed oil as a general base. Second, color the entire surface lightly by applying very large areas of different colors that swim into one other and that must remain free of any effect of chiaroscuro. Third, a drawing, independent of and substituting for the unformulated tonal values. Then, at the end, some bass notes to ward off flabbiness, not too dark, but colored bass notes. This is the style that connects drawing and the realm of color, a saving transfer of my fundamental graphic talent into the domain of painting"

"And now an altogether revolutionary discovery: to adapt oneself to the contents of the paintbox is more important than [to] nature and its study. I must some day be able to improvise freely on the chromatic keyboard of the rows of watercolor cup."

"Alfred Kubin, my benefactor, has arrived! He acted so enthusiastic that he carried me away. We actually sat entranced in front of my drawings! Really quite entranced! Profoundly entranced!"

"First of all, the art of living; then as my ideal profession, poetry and philosophy, and as my real profession, plastic arts; in the last resort, for lack of income, illustrations."

"Kandinsky wants to organize a new society of artists. I came to feel a deep trust in him [ Kandinsky ]. He is somebody, and has an exceptionally beautiful and lucid mind."

"Spring. All the things an artist must be: poet, explorer of nature, philosopher! And now I have become a bureaucrat as well as by compiling a large, precise catalogue of all my artistic productions ever since my childhood. I have left out only the school drawings, studies of nudes, etc., because they lack creative self-sufficiency."

"Tunis. My head is full of the impressions of last night's walk. Art-Nature-Self. Went to work at once and painted in watercolour in the Arab quarter. Began the synthesis of urban architecture and pictorial architecture. Not yet pure, but quite attractive, somewhat too much of the mood, the enthusiasm of traveling in it-the Self, in a word. Things will no doubt get more objective later, once the intoxication has worn off a bit."

"Formerly we used to represent things visible on earth, things we either liked to look at or would have liked to see. Today we reveal the reality that is behind visible things, thus expressing the belief that the visible world is merely an isolated case in relation to the universe and that there are many more other, latent realities. Things appear to assume a broader and more diversified meaning, often seemingly contradicting the rational experience of yesterday. There is a striving to emphasize the essential character of the accidental."

"Pictures have their skeleton, muscles, and skin like human beings. One may speak of the specific anatomy of the picture. A picture representing 'a naked person' must not be created by the laws of human anatomy, but only by those of compositional anatomy. First one builds an armature on which the picture is to be constructed."

"Beyond the constructive elements of the picture, I studied the tonalities of nature by adding layer upon layer of diluted black watercolour paint. Each layer must dry well. In this way a mathematically correct scale of light and dark values is the result. Squinting facilitates our perception of this phenomenon in nature."

"In fact I am beginning to see a way to provide a place for my line. I am at last finding my way out of the dead-end of ornament where I found myself one day in 1907! With new strength from my naturalistic études [studies], I may dare to give form to enter my prime real of psychic improvisation again. Bound only very indirectly to an impression of nature, I may again dare to give form to what burdens the soul. To note experiences that can turn themselves into linear compositions even in the blackest night. Here a new creative possibility has long since been awaiting me, which only my frustration resulting from isolation interfered with in the past. Working in this way, my real personality will express itself, will be able to emancipate itself into the greatest freedom."

"You know what I want to become temporarily today: a painter? No. A simple and common designer. But a biting one. I would like to deride humanity, nothing less. And this with the simplest means, in black and white. At the same time - oh blasphemy - I would like to attack our Lord adequately."

"He [in general] has found his style, when he cannot do otherwise, i.e., cannot do something else."

"His [ Van Gogh's] pathos is alien to me, especially in my current phase, but he is certainly a genius. Pathetic to the point of being pathological, this endangered man can endanger one who does not see through him. Here a brain is consumed by the fire of a star. It frees itself in its work just before the catastrophe. Deepest tragedy takes place here, real tragedy, natural tragedy, exemplary tragedy. Permit me to be terrified."

"The changeover was complete; in the summer of 1907 I devoted myself entirely to the appearance of nature and upon these studies built my black-and-white landscapes on glass, 1907/1908."

"Looking back at the end of the year created a little more serious mood than before. To bring children [his son ] in the world is no trifling matter! Over the entire horizon, bluish, phosphorescent flashes of sheet shining.. ..In fact, I really do go out into the snow [near Munich] in all seriousness, station myself there, freeze, freeze stiff, but work. I accomplish little in comparison with the abundance around me, but I accomplish a great deal in comparison with the poverty and simplicity of a small bourgeois homestead."

"To emphasize only the beautiful seems to me to be like a mathematical system that only concerns itself with positive numbers."

"The beautiful, which is perhaps inseparable from art, is not after all tied to the subject, but to the pictorial representation. In this way and in no other does art overcome the ugly without avoiding it."

"My etchings have.. ..the mistake of being processed as images and to have at the same time the meaning of epigrams. It is the union of pure painting with pure graphics.. .From now onwards my task will be the division of art and graphics, and the full development of both fields. The pure art has already turned to impressionism and the graphics is going to do it."

"I am God / So much of the divine / is heaped in me / that I cannot die. My head burns to the point of bursting. One of the worlds / hidden in it / wants to be born. / But now I must suffer / to bring it forth."

"Nature can afford to be prodigal in everything, the artist must be frugal down to the last detail. Nature is garrulous to the point of confusion, let the artist be truly taciturn."

"Van Gogh is congenial to me, 'Vincent' in his letters. Perhaps nature does have something. There is no need, after all, to speak of the smell of earth; it has too peculiar a savor. The words we use to speak about it, I mean, have too peculair a savor. Too bad that the early Van Gogh was so fine a human being, but not so good as a painter, and that the later, wonderful artist is such a marked man. A mean should be found between these four points pf comparison: then, yes!"

"Color has taken possession of me; no longer do I have to chase after it, I know that it has hold of me forever.. .Color and I are one. I am a painter."

"The main thing now is not to paint precociously but to be, or at least become, an individual. The art of mastering life is the prerequisite for all further forms of expression, whether they are paintings, sculptures, tragedies, or musical compositions."

"But Paul Klee and Franz Marc were also close friends, and August Macke, too, whenever he was in Munich.. .Klee was never as active a theorist, in those years, as Kandinsky or Marianne de Werefkin. Besides, it took Klee much longer to become a truly and conscious modern artist.. .As you can see in my portrait of Klee, which is painted in 1913 – I mean the one where he is seen seated in one of the rooms here downstairs and wearing white summer slacks – he is not very communicative. That is why I depicted him all hunched up and tense, as if he were constraining some mainspring within himself. In my eyes, it was almost a portrait of silence rather than of Klee, and for many years it no longer occurred to me that he had been my model. But Klee was always a close friend of ours, and Kandinsky and I had great confidence in his talent and his future... (1958)"

"Barth has been variously damned as a heretic, a narrow-minded Biblicist, and an atheist in disguise — and praised as the most creative Protestant theologian since John Calvin. President James McCord of Princeton Theological says that "he bestrides the theological world like a colossus." Harvard's German-born Paul Tillich, the contemporary religious thinker whose stature most nearly rivals Barth's, has often disagreed with Barth — : "shouting at each other over a glass of wine" — but calls him, "the most monumental appearance in our period." Roman Catholic theologians, notably in Europe, have praised his thinking in terms they usually reserve for St. Thomas Aquinas. Once, upon hearing that Pius XII had paid tribute to his work, Barth smiled and said, "This proves the infallibility of the Pope." More seriously, he insists that the best critical work on his works — over 500 titles so far — has been done by such Catholic Modernists as French Jesuit Henri Bouillard and Father Hans Urs von Balthasar of Basel. By contrast, Reinhold Niebuhr regards Barth as a "man of infinite imagination and irresponsibility" writing "irrelevant theology to America. I don't read Barth any more," he says. And Dr. Cornelius Van Til of Westminster Theological Seminary speaks for a host of U.S. fundamentalists in charging that "Barthianism is even more hostile to the theology of Luther and Calvin than Romanism."

"His treatment of Christian dogma has soared across denominational boundaries, affecting the thought of Baptists, Lutherans and Episcopalians as well as his own Reformed Church. Preachers read him, and his thought probably affects a good share of the sermons spoken in U.S. churches any given Sunday, but laymen hardly know his name. … In a way, this lack of a following is a tribute to the originality and individuality of Barth's accomplishments. His kind of God-thinking has been commonly called "neo-orthodoxy" and "theology of crisis" — labels that Barth rejects, since they scarcely define it at all."

"Barth accepts and welcomes scholarly criticism of the Bible, even when it shows the Scriptures to be full of errors and inconsistencies. He does not consider the Bible infallible, and he deplores orthodox Protestants who make it into "a paper Pope." Nevertheless, the Bible testifies to God's Word, which is revealed to man through human speech. The words that the Biblical writers use may not always be the appropriate ones, but they must be accepted as words elected by God."

"It is because Barth turns his glance wholly away from the state of faith and directs it to the content of faith that he writes well."

"One of the cardinal points of Barth's doctrine of God is that He is the transcendent God. On every hand Barth is out to set God immensely above the dieties of the world, and the substitutes for God which modern philosophy and scientific research into Nature's forces have put into "modern" man's mind. … Barth makes it explicit from the beginning that God is the unknowable and indescribable God. The hidden God remains hidden. Even when we say we know him our knowledge is of an incomprehensible Reality. … Barth's contention is summed up in the dictum: Finitum non Capax infiniti, the finite has no capacity for the Infinite. … On every hand Barth speaks of time and eternity as two distinct realms, an unbridged chasm between God and man, and the unknown God."

"Most of my criticisms stem from the fact that I have been greatly influenced by liberal theology, maintaining a healthy respect for reason and a strong belief in the immanence as well as the transcendence of God. … Not that God is not transcendent. The liberal so believes, but he also contends that God is also immanent, expressing his creative genius throughout the universe which he is ever creating and always sustaining as well as through the essentail goodness of th world and human life. It is not that God is above us to which the liberal objects, but he does demur when he is asked to affirm that God is with us only in a tiny segment of "experience."… The liberal also finds God in the beauty of the world, in the unpremeditated goodness of men, and in the moral order of reality. … It must also be noted at this point that Barth speaks of the generally accepted metaphysical and ethical attributes of God, sovereignity, majesty, holiness, ect., with a degree of certainty. It was once said of Herbert Spencer that he knew a great deal about the "Unknowable" so of Barth, one wonders how he came to know so much of the "Unknown God." … In spite of our somewhat severe criticisms of Barth, however, we do not in the least want to minimize the importance of his message. His cry does call attention to the desperateness of the human situation. He does insist that religion begins with God and that man cannot have faith apart from him. He does proclaim that apart from God our human efforts turn to ashes and our sunrises into darkest night. He does suggest that man is not sufficient unto himself for life, but is dependent upon the proclamatiom of God's living Word, through which by means of Bible, preacher, and revealed Word, God himself comes to the consciences of men. Much of this is good, and may it not be that it will serve as a necessary corrective for a liberalism that at times becomes all too shallow?"

"A Christ-intoxicated man. … What emerges from Barth's theology is a breathtaking, daring vision of a universe in which tragedy, demonic evil and chaos have been met and defeated in the figure of Jesus Christ."

"1919...Henri Bergson, Karl Barth, Ernst Cassirer, Havelock Ellis, Karl Jaspers, John Maynard Keynes, Rudolf Steiner—indelible figures—were all active in their various spheres."

"Barth's dedication to the sole authority and power of the Word of God was illustrated for us … while we were in Basel. Barth was engaged in a dispute over the stained glass windows in the Basel Münster. The windows had been removed during World War II for fear they would be destroyed by bombs, and Barth was resisting the attempt to restore them to the church. His contention was that the church did not need portrayals of the gospel story given by stained glass windows. The gospel came to the church only through the Word proclaimed. … the incident was typical of Barth's sole dedication to the Word."

"At the center of the discussion of the nature of practical theology is the issue of the relation of theory to praxis. If theory precedes and determines practice, then practice tends to be concerned primarily with methods, techniques and strategies for ministry, lacking theological substance. If practice takes priority over theory, ministry tends to be based on pragmatic results rather than prophetic revelation … Barth, from the beginning, resisted all attempts to portray theory and praxis in opposition to one another. In his early Church Dogmatics he described any distinction between “theoretical” and “practical” as a “primal lie, which has to be resisted in principal”. The understanding of Christ as the light of life can be understood only as a “theory which has its origin and goal in praxis”."

"I do not preach universal salvation, what I say is that I cannot exclude the possibility that God would save all men at the Judgment."

"When the angels praise God in Heaven I am sure they play Bach. However, en famille they play Mozart, and then God the Lord is especially delighted to listen to them."

"When I come before these men I do not have to explain that we are all sinners. They have committed every sin there is. All I have to tell them is that I, too, am a sinner."

"I had to show that the Bible dealt with an encounter between God and Man. I thought only of the apartness of God. What I had to learn after that was the togetherness of Man and God — a union of two totally different kinds of beings."

"Nothing is more characteristic of the Hegelian system of knowledge than the fact that upon its highest pinnacle, where it becomes knowledge of knowledge, i.e. knowledge knowing of itself, it is impossible for it to have any other content but simply the history of philosophy, the account of its continuing self-exposition, in which all individual developments, coming full circle, can only be stages along the road to the absolute philosophy reached in Hegel himself. But that which knowledge is explicitly upon this topmost pinnacle as the history of philosophy, the philosophy completed in Hegel, it is implicitly all along the line: the knowledge of history and the history of knowledge, the history of truth, the history of God, as Hegel was able to say: the philosophy of History. History here has entered so thoroughly into reason, philosophy has so basically become the philosophy of history, that reason, the object of philosophy itself, has become history utterly and completely, that reason cannot understand itself other than a sits own history, and that, from the opposite point of view, it is in a position to recognize itself at once in all history in some stage of its life-process, and also in its entirety, so far as the study permits us to divine the whole. It is a matter of the production of self-movement of the thought-content in the consciousness of the thinking subject. It is not a matter of reproduction! The Hegelian way of looking is the looking of a spectator only in so far as it is in fact in principle and exclusively theory, thinking consciousness. Granting this premise, and setting aside Kierkegaard’s objection that with it the spectator might by chance have forgotten himself, that is the practical reality of his existence, then for Hegel it is also in order (only too much in order!) that the human subject, whilst looking in this manner, stands by no means apart as if it were not concerned. It is in this looking that the something seen is produced. And the thing seen actually has its reality in the fact that it is produced as the thing seen in the looking of the human subject. Man cannot participate more energetically (within the frame-work of theoretical possibility), he cannot be more forcefully transferred from the floor of the theatre on to the stage than in his theory."