Painters From Germany

"Well, I knew I was an artist the moment I woke up in my mother's belly and, as an artist, I shouldn't have to give interviews.. ..in some parts of the world, you get scrutinized for saying the wrong thing about art and in other regions, you get scrutinized for saying nothing at all."

"Like Baudelaire said of Honoré Daumier in 'The Painter of Modern Life', Isa is the artist of modern life seeing her time and transcending it simultaneously, with no separation.. .It is radical, not easy to do."

"I am sure of one thing: many silent readers and young people full of energy will secretly be grateful to us, will be fired by enthusiasm for this book [the Blaue Reiter Almanac] and will judge the world in accordance with it."

"It is impossible to explain the latest works of these wild men | that is, the artists of Der Blaue Reiter, and Die Brücke, [working in Munich, and Berlin] in terms of a formal evolution and a reinterpretation of Impressionism. The loveliest prismatic colors and the famous Cubist style have become meaningless in terms of the objectives of the iconoclasts. Their thinking has a different aim: with their labor, they want to create symbols for their era. symbols that belong on the altars of the coming spiritual religions behind which the technical producer will vanish."

"The editors of the Der Blaue Reiter will now be the starting point for new exhibitions.. .We will try to become the center of the new movement. The association may assume there the role of the new (Scholle)."

"We wish to propagate in this small exhibition not one precise and special form, but we intend in the variety of the forms represented to show how the inner wish of the artists expresses itself."

"I think we were all more interested in being honest than in being modern. That's why there could be such great differences between the styles of the various members of our group.. .They had great faith in each other. I think that each of them knew that the other, as an artist, was absolutely honest. Whenever Kubin came to Munich from his nearby country retreat, they [ Wassily Kandinsky and Kubin] spent many hours together, and I wish I had been able to take down in shorthand some of their conversations. Their ideas about art and life were so different."

"Our first and most important goal is to reflect artistic events directly connected with this change and the facts needed to shed light on these events, even in other fields of the spiritual life. Therefore, the reader will find works in our series that bear an inner relationship to one another in the aforementioned context, although they may appear unrelated on the surface."

"We are standing at the threshold of one of the greatest epochs that mankind has ever experienced, the epoch of Great Spirituality. In the nineteenth century just ended, when the flowering — the 'great victory' — of the material seemed most intense, the first 'new' elements of a spiritual atmosphere were formed almost unnoticed. They will give and have given the necessary nourishment for the flourishing of the Spiritual."

"We honor and attend, not to the work that has a certain recognized, orthodox, external form (which usually is all there is), but to the work that has an inner life connected with the great change. And that is only natural, since we don't want the dead but the living. Just as the echo of a living voice is only a hollow form, which has not arisen out of a distinct inner necessity.."

"Both of us loved blue, Franz Marc horses, I [= Kandinsky - together they founded the artist-group & the art-Journal in Munich, 1911]. Hence the name 'Der Blaue Reiter' [The Blue Rider; title of the publication in the 'Munich Almanac', edited by Kandinsky and Franz Marc]"

"A great era is beginning and by this time has begun: the spiritual 'awakening,' the emerging inclination to regain 'lost balance,' the inevitable necessity of spiritual cultivation, the unfolding of the first blossoms."

"It should really be unnecessary to emphasize that in our case the principle of internationalism is the only one possible. However, in these times even this must be noted: that an individual nation is only one of the creators of the whole; alone one can never be seen as the whole. Like the personal, the national is automatically reflected in each great work. But in the final analysis this national coloration is of secondary importance. The whole work, called art, knows no borders or nations, only humanity."

"Each of us was interested in the work of the other members of our group, much as each of us was also interested in the health and happiness of the others. But we were still far from considering ourselves as a group or a school of art.. .I don't think we were ever as programmatic in out theories, as competitive or a self-assertive, as some of the modern schools of Paris."

"The laws of art are eternal and don't change at all, as the moral laws don't change in human beings. [arguing with Franz Marc who demanded in 'Der Blaue Reiter' circa 1912 a new modern art, in relation to its own - changing - time]."

"Art today is moving in directions of which our forebears had no inkling; the Horsemen of the Apocalypse are heard galloping through the air; artistic excitement can be felt all over Europe – new artists are signalling to one another from all sides; a glance, a touch of the hand, is enough to convey understanding."

"I have just been thinking that Der Blaue Reiter does not really represent my work. I have always been convinced that other things of mine are more important.. .Narcism, fake heroism, and blindness have a lot to answer for, in the Blaue Reiter. All those high-sounding words about the birth of a great spiritual moment still resounding in my ears. Kandinsky can air his personal opinion about that or any other revolution he cares to mention. But I dislike the whole thing.. .Take my advice – work, and don't spent so much time thinking about 'blue' riders or 'blue' horses."

"[Their] things [works of Die Brücke artists] must be exhibited. But I think it is incorrect to immortalize them in the document [Almanac?] of our modern art (and, this is what our book ought to be) or as a more or less decisive, leading factor. At any rate I am against large reproductions [for prints of Die Brücke works in The Blaue Reiter Almanac]."

"But we [der Blaue Reiter artists] had no contact with the painters of the Dachau and Worpswede School. It was only much later, for instance, that we discovered that Hoelzel had already been experimenting with non-objective compositions as early as 1908. We were only a group of friends who shared a common passion for painting as a form of self-expression."

"I have now forgotten who was responsible for the original idea [the publication of the art-journal 'Der Blaue Reiter' / 'Blue Rider'], perhaps because I have never been particularly interested in theory.. .The Neue Künstlerverein [in Münich] didn't approve of Wassily Kandinsky's ideas in 1911 and rejected his 'Composition No. 5.' as too big for their show. So Wassily Kandinsky withdrew from the association, and Franz Marc, Kubin, Le Fauconnier and I followed this lead. It was then that Kandinsky began to write the book that became 'Der Blaue Reiter'."

"Art is not hysteria. Art is as natural to man as is thought, it is a normal function of his brain. Art is observation and consciousness. It is not an instinct, vague, indecisive, sickly. Art is an eternal source – life, and an unlimited expression, the individual. These two elements, well-adapted, make masterpieces.. .All speech that a human being finds to give a new impression is of art. Why believe that the speech must be epileptic to become art?.. .Such is art. It is the product of life and the individual. It is born from their clash, from the received impression. But this impression is made once, for then it is no longer, neither life nor the individual.."

"I save myself in a church. Dark, empty. Lights flickering before icons. One sings everything that one has sung before in the past. Some black figures - and the heart is heavy. The tears take one's breath away and the past rises up again. Home.. ..in Peter's office [Marianne's brother, governor of Kovno Province, Lithuania], my entire soul starts to ache for him, for that battle for everything that is sweet and good, which is called Russian life. Empty, empty in the house, no one. Whoever comes - doesn't get his fill of him. And then such a heated rush of love rips out of the [visitor's] heart, begging one's pardon and forgetting the trouble behind, that the whole house swells."

"..Oh my dear friend, you whose voice called me towards my beautiful past, oh how I love you because you are young, you serve the idea, you understand the beauty of a life devoted completely to abstraction. Oh the devil you have done me, and the good of this devil. There is an atrocious page in my existence.. .I am not a woman. Neither love nor the family satisfies me. I don’t like the baby. I detest the household. I love all works of the human genius, I adore art the beauties of nature and of the heart. The beautiful, the beautiful in all such as love and such as life."

"The artist is the only one who detaches himself from life, opposes his personality against it, he is the only one who orders things as he wishes them to be in place of things as they are. Thus for him life is not a fait accompli, it is something to remake, to do again. He takes possession of his gifts in order to continue, to change, He makes his choice, it is he who creates the conceptions of beautiful and ugly, those are the things to preserve, the things to change. At the seat of the things that it is necessary to change he puts his desires, his aspirations, in one word, his personality..."

"And I go to my room and stretch out my arms to the West—that it is far away [from here], that I will someday return. Outside those painful sensations—it is horrible to be before these people and their lives. Service and family troubles -a hard beginning, pay raise, promotion - sweet dreams, scandal - daily bread, [This is a figurative reference to Our Lord's Prayer, "give us this day our daily bread.."] and their happiness reminds me sweetly, of those who buy "for the people," and whose food you wouldn't put in your mouth. I think of Munich and of my health. All that is here is suffering and this horror of beauty and this horrible life and this overbearing literature, and the complete superfluousness of art."

"Convince yourself. Kovno is a treasure-trove for artists. It is gloomy, the lamps don't make it lighter and the streets are getting darker. Their violet windows hover threateningly in the darkness. The elusive lines of low houses, on them - the glimmer of green and red flames - illuminating rows of shops. Bright green bright red stripes [all] fall on the violet sidewalk. And all those shadows are full of people who only speak about one thing, about love, in the dialect, Polish or broken Russian. Whispers and loud words touch the silence, like the green and red bands of light - the darkness of the night. Something terrible, terrible lies over everything, I feel a shudder, it seems I am in another world, far away from real life."

"I want to work. It is an obsession. I am gnawed at the heart by an excruciating desire to manipulate color.. .I see figures, with an incredible intensity, pass before my eyes. Let us analyze this – if it is possible to toss it. Why do you no longer work? Why work again? Faith has left me – the habit of putting myself into the background, has done the rest. Am I a true artist? Yes, yes, yes. Am I a woman? Alas. Yes, yes, yes. Are the two [very probably Jawlensky & Marinanne] able to work as a pair? No, no, no. Who will take up the desires -?.. .The work of my life, this talent [Jawlensky] that I protect with all my interest, with all my affection, it must be alone in the dwelling. Reason says, calm yourself. But the great passion in me, and my call to work, destroys all the calm acquisitions of my life."

"..I want a lovely life; in order for it to be, harmony and style are necessary. I avow mine to the key of aesthetic sentiment – the constant permanent creation everywhere and in every one. All is false there, all is true. The truth is the desire to see falsely. I do not want the naked truth; it is the principle of my life. It is that which makes my life one which is artistic and complete. Feelings, events, people and things, such as they are, are nothing to me. I wish them invented, illusory, false in so far as true life and in so far as art."

"I have lost faith in myself and that is why my life has gone to the devil. Why: I have been strict with myself. I love art with a passion so selfless that when I believed that I saw that I would be able to serve it better by abstaining myself, so that another [Jawlensky] could succeed – I did it. And that faith was so great that it has endured, against all the tempests. You, you, in loving me like an imperceptible current, you have destroyed the calm, the serenity of my life. It was difficult but so intact.. .And the man to whom I have given all: my spirit and my heart, my inspiration and my affection, my cares and my concerns, my energy, my faith and my confidence, to whom I have opened all the treasures of my genius and of my soul, who enjoyed understanding and help – this man [Jawlensky] looks upon me with indifference and prefers kitchen-maids [domestic servant Yelena Neznakomova, who became pregnant, and gave Jawlensky his first child: a son] to me."

"All bores me in the world of facts, I see an end, a limit to all things and my heart thirsts for the infinite and for eternity. How to speak of the feeling, so serious, that has seized me?.. .Human activity has its greatest efforts always fall back on broken wings. Oh, thus I close my eyes. I do not wish to see, to hear, to love, or to act. Only artistic creation, infinite, unlimited, work of god in man, appears desirable to me. It only is the truth and only it is the illusion..."

"..I need to immerse my gaze in your eyes, it is in their mirror that I see myself as I would like to be, and it is only in seeing myself as I feel I should be. I think, therefore I am, my Beautiful One, to both of us, every day we recreate the world, every day a paradise falls in our hands, to darken in the dust of many paradises.. .The paradises will fall in our hands, will sink in the dust and will be born again according to our will."

"Before the blank canvas, the unrealized work, completely in the artist’s head, must seem to him equal to the greatest. To say that which has never been said – is the reason for all artistic work. But only outside of the work should the artist worthily get down on his knees before the great artists of the past.. .Rembrandt in our days would be Rembrandt again, because the work of the master is his self. But in order to be Rembrandt in our days, he would have used new ways that would give a new culture."

"My eyes are magical glass [when looking at] the outside world, and it can transform a lot into bewitching beauty. Paris, Munich.. ..they're all the same. The country is nice, because it is closer to nature and bad because we [Werefkin and Jawlensky] are no longer people from nature. I saw this at Blagodat. The more a person improves himself, the more one is doomed to loneliness. One doesn't need friends, one needs oneself and anybody who loves you like themselves."

"I am more a man than a woman. Only the need to please and compassion turn me into a woman. I am not a man, I am not a woman, I am I. [written in her Journal, 1905]."

"A colossal orange moon rolls as an unbelievable ball against intense blue. The silhouettes of the houses flank this blue on both sides, forming a childishly rigid little frame. As if we witness the birth of the song of flowers which are subordinated to this blue and dominated by the orange moon. [she wrote in 1905]"

"You for whom I have looked so hard without ever finding. You whom I have longed for, called after, without ever seeing you come, you who are always present without ever existing – I am writing to you now. You who are basically only myself, but a much bigger and more noble self, an ingenious self, a self far from me, as real as the whole distance between the dream and the reality."

"I adore my life: it is filled with so much true poetry, fine feelings, things many have no idea about. I despise my life, which, being rich, allowed itself to be crammed into the confines of conventions. Between these two opinions pulsates my soul always longing for beauty and good."

"in German: Ich bin Frau, bin bar jeder Schöpfung. Ich kann verstehen und kann nichts schaffen.. .Mir fehlen die Worte, um meine Ideal auszudücken. Ich suche den Menschen, den Mann, der diesem Ideal Gestalt geben würde. Als Frau, verlangend nach demjenigen, der ihrer inneren Welt Ausdruck geben sollte, traf ich Jawlensky..."

"A man with taste is the same as a woman with taste. Man invents his home, woman - her dress. Being an artist means having an individual, distinct from all other people's perception and concept of every single thing. Being an artist does not mean possessing a faculty of combining lines and paints, being artful in this or that sort of art, but having a world inside oneself and individual forms to express it."

"Oh, If I had been able to realize you with my hand. If the painted canvas was able to give me your dear image. The labor was you ['The Unknown'] the work of art was me – I have kissed your head, I have looked elsewhere.. .You are neither good, nor charitable. You do not know how to love. – You are only great and beautiful. I sacrificed to tenderness and still, my self, you do not know how to love."

"Five years ago I spent two and a half months in Berlin, and every day I visited the museum to have at least a brief look at this divine masterpiece [a portrait of the soldier of fortune, Alessandro del Borro, then attributed to Diego Velazquez, and later to an unknown master], and every day my soul sang in response to it stronger and stronger. I was very sick then, and that genius alone reconciled me to my life when there was so much suffering in it. Looking at his creation, at these lines, at these half-tones (remember that shadowed jaw against the background or the column against the dress), at all this charm of the art, at this grand style, I started to want to live again, to see it again and again, to live on by painting and perhaps by painting alone."

"Her Impressionistic paintings of 1906-07, painted with the palette-knife, do indeed have considerable similarities to Kandinsky's work of the same period, but the decisive artistic influence on her was Jawlensky."

"I love what doesn't exist. I love love that doesn't exist, which extends above you like an invisible city, like uncapturable smoke, a love that evokes a longing for enchanted lands, which fills the head with magical scenes, which confers strength and grandeur, which leads all beings to perfection, which adorns you in marvelous clothes, which increases painting abilities, which crowns you king of all goals, which makes you a god of creation."

"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."

"Suddenly I felt that my old dream was closer to coming true. You know that I dreamt 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."

"I am a woman, I lack every [ability for] creation. I can understand everything and cannot create.. .I don't have the words to express my ideal. I am looking for the person, the man, who can give this ideal form. As a woman, wanting someone who could give the internal world expression, I met Jawlensky..."

"Why should we do as those who do not have other joys than to believe, as night falls, in their double beds.. .that it is to be great and sanctified by love to jostle the companions of their bed. Our passion must be like our love – illusory and artistic, having no other end than the desire to be beautiful. To remain beautiful in unsated [unstated?] passion..."

"I love Russia as few people do - I've demonstrated it my whole life, but those who plow here in Russia, are not my brothers. I heed a Russian life with my entire existence, I look into the eyes of all the people around me, nothing.. .And the main horror is that we long for Russia and here no one loves her, they only mimic those feelings."

"You [the interviewer Edouard Roditi, in 1958] have probably understood that I had always been mainly a plain-air painter, though I also painted portraits and still-life compositions. At first I experienced great difficulty with my brushwork – I mean with that the French call 'la touche de pinceau'. So Kandinsky taught me how to achieve the effects that I wanted with a palette knife. In the view from my window in Sèvres, that I painted in 1906, when we were together in France, you can see how well he taught me. Later of course, here in Murnau, I learned to handle brushes, too, but I managed this by following Kandinsky's example, first with a palette knife, than with brushes."

"Well, when we [Kandinsky and Gabriéle Münter] first met, Munich was still very much a center of plein-air painting [painting in open air], and Kandinsky himself was a plain-air painter too, to some extent. We used to go out sketching and painting together in the countryside [around Murnau], and he painted a picture of me sketching, and I also did one of him [on board in oil]. That was a long time ago in 1903. It was only some ten years later, when he painted his first 'Improvisations' that he began to work exclusively in his studio."