People From Berlin

"Franziska (mother of Charlotte): 'In Heaven everything is much more beautiful than here in earth – and when your Mummy has turned into a little angel she'll.. ..bring a letter, telling her what's like in Heaven..'. Franziska was of somewhat sentimental disposition."

"Fashion drawing teacher: Yes, drawing is a difficult art. One has to have some talent for it - and unfortunately you haven't. Charlotte: 'No, I refuse to stay here with this stupid old cow, where through the dirty window even the sun's bright ray can only dimly play.. .Only he who dares can win. Only he who dares can begin."

"Charlotte: 'I have some more [paintings she recently made] to show you'. Daberlohn: Well, let's meet this evening... .. Isn't it absurd to address each other so formally? You're such a baby – here, let me hold your hand.. ..Real painter's hands'. Charlotte: 'To me they're just ugly'.. ..'You would be a wonderful subject for a portrait -' Daberlohn (to himself) : 'Little girl, if you only knew what one has to go through to be able to paint'."

"The following pictures are those which to the author seem the strangest. Without doubt they have their origin in Michelangelo Rome series of the main section that was sung with the loudest and most penetrating voice of this entire opus. ('Creation of Adam, by Michelangelo')"

"..even happens that each character has to sing a different text, resulting in a chorus. The varied nature of the paintings should be attributed less to the author than to the varies nature of the characters to be portrayed. The author [= Charlotte Salomon] has tried.. ..to go completely out of herself to allow the characters to sing or speak in their own voices. In order to achieve this, many artistic values had to be renounced, but I hope that.. ..this will be forgiven. - The author, St. Jean, August 1940/42"

"...two things. First that Daberlohn's eyes seemed to say: 'Death and the Maiden, that is the two of us;' and second, that she still loved him as much as ever. And if he was Death, then everything was alright, then she did not have to kill herself like her ancestors.. .So she was in fact the living model for his theories, and she remembered..."

"And from that came: Life or Theatre?"

"Life or Theatre?"

"..Thus in the presence of the scorching sun, purple sea, and luxuriant blossoms, the memory of an experience of her fervid early love [Daberlohn = Alfred Wolfsohn ] came back to her. And she tried to visualize that face, that figure. And Io, she succeeded, and she noticed that this was a very interesting occupation. For she discovered that that figure..."

"In a few words she [Charlotte] touches on the key points of his [ = Alfred Wolfsohn, her former lover in Germany, she called Amadeus Daberlohn in her work] philosophies, rushing past them - Adam and Eve, Original Sin, Judaism, Christianity, The film ass a modern menas to gain insight into oneself: the voice of the infant, leading to the myth of Orpheus and Eurydice, to singing - the gold in the throat expressing the soul."

"And now something strange happened to our Charlotte. While busy painting, as she always was, she fell asleep in the midday sun. And when she awoke, the finished portrait of her once so ardently beloved Daberlohn [ = Alfred Wolfsohn ] lay before her. However, she tore the sheet into a hundred thousand shreds.. ..she sought for an explanation.. .Then her glace fell on one of her old paintings representing Death and the Maiden. And suddenly she knew..."

"Consisting of a 'Prelude', a 'Main Section', and an 'Epilogue' - (dedicated to Ottillie Moore)"

"I became my mother, my grandmother. I learned to travel all their paths and became all of them.. .I knew I had a mission, and no power on earth could stop me."

"My life began when my grandmother decided to take hers, when I found out that my mother's whole family did the same thing [told bij het grandfather c. 1941], when I found out that I am the only one surviving, and when I felt the same inclination deep inside of me, craving for despair and death."

"..And with dream awakened eyes she saw all the beauty around her, saw the sea, felt the sun, and knew she had to vanish for a while from the human surface and make every sacrifice in order to create her world anew out of the depths. And from that came Life or Theater???"

"One of the many importants ideas introduced by Minkowski into the study of convex bodies was that of gauge function. Roughly, the gauge function is the equation of a convex body. Minkowski showed that the gauge function could be defined in a purely geometric way and that it must have certain properties analogous to those possessed by the distance of a point from the origin. He also showed that conversely given any function possessing these properties, there exists a convex body with the given function as its gauge function."

"Ein Bourgeois, wer noch Algebra treibt! Es lebe die unbeschrankte Individualitat der transzendenten Zahlen! ["It's a bourgeois, who still does algebra! Long live the unrestricted individuality of transcendental numbers!"]"

"Let θ be an algebraic integer and assume that all conjugates of θ, except θ itself, have an absolute value less than 1. Then –θ also has this property; on the other hand, θ is real. Without loss of generality, we may therefore suppose θ ≥ 0. Since the norm of θ is a rational integer, we have θ ≥ 1, except for the trivial case θ = 0. Recently, R. Salem ... discovered the interesting theorem that the set S of all θ is closed and that θ = 1 is an isolated point of S. Consequently there exists a smallest θ = θ1 > 1. We shall prove that θ1 is the positive zero of x3 – x – 1 and that also θ1 is isolated in S. Moreover we shall prove that the next number of S, namely the smallest θ = θ2 > θ1, is the positive zero of x4 – x3 – 1 and that θ2 is again an isolated point of S. Since θ1 = 1.324..., θ2 = 1.380..., both numbers are less than 2½; therefore our statements are contained in the following: . Let θ be an algebraic integer whose conjugates lie in the interior of the unit circle; if ±θ ≠ 0, 1, θ1, θ2, then θ2 > 2."

"I am afraid that mathematics will perish by the end of this century if the present trend for senseless abstraction — as I call it: theory of the empty set — cannot be blocked up."

"... when Carl Ludwig Siegel announced that he would hold class on a University holiday, his students left the room empty on the appointed day, hiding nearby to see what he did. “Sure enough, Siegel got up front in the empty room, started in with the beautiful lecture as though he had a full room,” said Merrill Flood *35. After he had continued for a while, “we sheepishly trooped in, and listened to his lecture.”"

"... Siegel kept working well into his eighties, after he had returned to Göttingen."

"The theory of functions of several variables turns out to be essentially more difficult than the theory of one variable because of the existence of points of indeterminacy. In the case n > 1, a mere glance at the poles already indicates a behavior which is completely different from that in the case n = 1. The reason is that, in case n > 1, the poles are not isolated and, in general, there does not exist a Laurent expansion. In a neighborhood of a nonregular point we are forced to view meromorphic functions as quotients of power series."

"In 1966 Siegel oversaw the publication of his collected works in three volumes. He spent the rest of his life editing (and writing) a fourth volume. As the story goes, he burned everything else, fearing that a historian—as he himself had done with Riemann—would get into his papers."

"Ours, according to Leibnitz, is the best of all possible worlds, and the laws of nature can therefore be described in terms of extremal principles. Thus, arising from corresponding variational problems, the differential equations of mechanics have invariance properties relative to certain groups of coordinate transformations."

"Hollywood left an indelible impression on my life; it was my life, and will remain with me as a wonderful experience. I am grateful for that marvelous time and for the many fans that still follow what I do and have done."

"At 15 years of age, I was 6’3” tall, with a very low voice that brought attention to me - often. As a result, I was very self- conscious, to say the least. My mother took me to a dramatic coach in Hollywood to help me overcome my self-consciousness. On the very first meeting, she gave a magazine to me to read out-loud for 15 minutes, while standing on a raised platform. Afterward the coach, Ruth Bowes, turned to my mother and said, “Your son has every quality to become a great actor”."

"Huizinga alone might be said to match Groethuysen in conveying a sense of the spiritual distance needing to be covered before everyday men could innocently proceed to go about the tasks in the everyday world with the simple conviction that their everyday minds were the true and honest measure of everything that came their way."

"The Church must preach to the bourgeois on his duties, must reveal to him values that were more especially his own, must set the seal of divine approval on his efforts, on his work; and, satisfied with himself, he would be no less so with God and with his Church. ... The Church must not present him with far-ranging concepts or try to raise him out of his own sphere but, rather, talk to him of the daily round, of the minute concerns of life, and tell him that God required no more of him. That was what the Jesuits realized very clearly."

"As soon as he did not work, the poor man, whose poverty had sufficed to create his title in the world of pious legend, who had been regarded as bearing a sacred character because he symbolized the great affliction of mankind, was no longer the good friend of Jesus Christ. There was thus a type of poor whom Jesus Christ did not recognize, any more than the police did."

"We might easily pursue these contrasts between bourgeois of the Jansenist school and those of the Jesuit school. One, of upright and rigid character, was himself in the various occupations of daily life; the other had the personality of his state, which would make of him less a moral personality than a socially determined being, subject to rules which it would be improper and unChristian not to observe, the "first duty of probity" always being, as Père Bourdaloue puts it, to "submit to authority." So that while the disciple of the Jesuit Fathers might be a reliable man, who most probably would always remain prudently within the confines of mediocrity, the disciple of the Jansenists might sometimes indulge in eccentricities. He was less reliable; he might take the counsels of perfection literally, and not be so docile. Under a middle-class exterior, he might often conceal a romantic spirit, preserving a predilection for the heroic feats of olden times."

"“They want to find an imaginary mean between cupidity and charity,” says Arnaud, “as though our love could end and rest in any object other than God, this being charity, or in the creature, this being cupidity.” In this “imaginary mean” the new man had now established himself, and spent the greater part of his life; it was his spiritual homeland on earth. There he created habits for himself and made laws; he felt at ease and found ways of being virtuous and useful to his neighbors. God would not be angry with him for acting according to his own rules. Thus the worldly man was able to live perfectly well without thinking of a God who had formerly wanted everything done for his sake alone."

"The bourgeois, for his part, possessed neither of the inordinate ambitions of the great nor of the patience of the poor, would seem to have to remain ignorant both of the sins of whose who exalted themselves and of the merits of those who humbled themselves. Bossuet, speaking of this world, complains that the "license of great fortunes exceeds all bounds." This, he says, leads to "those prevailing sins which are not satisfied to be tolerated, or even excused, but which seek even to be applauded.""

"“Scripture and the Fathers recognize only two principles of all human actions,” says Bishop Colbert, “charity, the principle of all good actions; cupidity, the principle of all bad ones. The Jesuits, on the contrary, introduce a host of principles of human actions.” There would thus be actions which were neither good nor evil, “an innumerable multitude of indifferent actions, of no consequence either for good or for ill.” ... Thus man would have constituted for himself a sphere where there was no longer any question between himself and God either of sin or of virtue. ... God, at the last judgment, would not ask him to account for actions which were unrelated to his salvation and which did not concern the divinity. In that area, the Christian would enjoy a legitimate freedom, without fear of constantly sinning; he would be a sinner only when the occasion of sin arose, in specific cases. The rest of the time he would live between heaven and hell, between charity and concupiscence."

"The worldly-minded ... were unable to see why God should not give men their due if men, on their part, fulfilled their obligations. ... A new man had emerged. He was demanding his rights; he was conscious of his importance. As he was before men, so would he be before God. What he had acquired materially or morally was his own, his very own, and neither king nor God might dispute his possession with him. He loved his God as he loved his king, but on condition that both respected his rights."

"We might say that before the French demanded a charter from their sovereign, French Catholics had demanded one of their God. It was understood that God must be just, that he had certain obligations toward men, and that certain reciprocal relations had to be established between creature and Creator."

"Nothing, then, would prevent him henceforth from living his life, a purely secular life, according to his nature and his habits, without having to ask himself at every moment whether what he had done was displeasing to God or not. And since he was no longer the sinner whose life, as soon as he acted by his own powers, was but sin, he would be able to enumerate separately the sins which he had committed on a particular occasion."

"The new man, wishing to enjoy his independence, needed a God with limited powers, a God whose authority was regulated by fundamental laws, so that the sinner, when summoned before the throne of the last judgment, might plead his cause, documents in hand."

"Did all these concerns in which the bourgeois was engaged really need external hallowing? They contained their own built-in standards, and the bourgeois was unwilling to recognize any other. If religion was to signify anything in his life, it would have to connect with that life itself, exalt the motives which determined it, not only tolerate them or approve them from a distance, but penetrate them and model itself on the very special morality which governed it."

"Since the God of the Christians blessed and rewarded toil, there was nothing, surely, to prevent him from approving the effort of the bourgeois. True, the bourgeois' wealth was often far from being the product of his own labor, but he always liked be told that it was, and if he was to be made a Christian it was necessary to insist on this point."

"In its glorification of the spirit of order, the Church seemed to be giving its sanction to the type of bourgeois who was concerned to fulfill his duties scrupulously and content to remain within his own sphere. But this bourgeois, whom modern eighteenth-century society certainly could not dispense with, was far from summing up in himself the whole spirit of his class. There was another type of bourgeois who had nothing about him of a monk transplanted into an office. He was energetic, pushing, by no means content to confine himself to a life rhythmically punctuated by work; rather, he was concerned to grow, to achieve power and wealth through his own effort. But what would the Church say of this bourgeois who was to become the monarch of the modern age? It did not like him; it could not like him; the impulse that moved him was too contrary to its own. He seemed intent on flouting God; trusting in his own strength, he seemed to want to organize his life independently of the plans of Divine Providence."

"Such, then, was the God of the worldly-minded, who would be grateful that he had organized the things of this world so that everything was in accordance with laws which they could understand, and that he did not interfere in their decisions when, as prudent and reasonable men, they wished to order their own destinies."

"Gradually disbelief became respectable. It acquired a moral character. By the mere fact that it was an integral part of the consciousness of a class—of the bourgeoisie—it became bourgeois. From an individual phenomenon, or a phenomenon confined to certain isolated groups, it became an expression of collective life."

"In the bourgeois' world, ... if some respect was shown to God, it was on condition that he in turn would respect the general laws governing the universe and refrain from acting contrary to the plans of the middle class, who used their reason and demanded their share in the governance of the world."

"The Church would have liked to turn to each of those thousand unbelievers separately, to show him that he was wrong, that he had allowed himself to be led astray by his passions, that he had everything to fear in the next life, and so forth. But it was not he, really, who had become disbelieving, it was his whole class, and it was his class consciousness which replied for him when he was addressed individually."

"Was he a sinner? Possibly. But could his class, the bourgeoisie, be condemned as a whole? The Church did not realize how secure he felt when it spoke to him of damnation. Would God send a whole class to hell, the class of the respectable? Who, then, would be in heaven? The common people? That would be hard to imagine!"

"The bourgeois ... considered the philosophes to be his true guides, which did not prevent him from taking good care not to adopt their teachings once he realized they might be damaging to the interests of his class. ... He seemed quite disposed to make his peace with the Church, now that he was sure of being sufficiently emancipated to be able to live his life as he chose. To go farther, he feared, would to to act contrary to the interests of his class, for disbelief, by spreading among the people, might eventually endanger the principles of the social order which the bourgeoisie needed to establish its domination."

"The Church, sensing that the middle class was slipping out of its grasp, certainly tried to create patterns of living which would enable the bourgeois to remain a bourgeois as well as a Christian; that is, to carry out his economic and social functions while preserving the features of a son of the Church. But it never succeeded in hallowing the aspirations of the new middle class by giving them a religious basis."

"We [ Kandinsky and Gabriele] came here [in Murnau, near Munich] together, on a brief visit, for the first time in 1908, in June, and we were both delighted with the town and its surroundings. In August, we then returned to Murnau for two months, with Jawlensky and Marianne Werefkin.. ..Kandinsky fell in love with it [with the house in Murnau where Gabriele lived, till 1962] and said: 'You must buy it for our old age'. So I bought it and we then made it our home until he returned to Russia in 1914. Jawlensky and Marianne [Werefkin] used to stay with us here, and the people of Murnau called it: 'The House of the Russians' [only Gabriele Münter was German, of the four artists here mentioned]"

"I met him Kandinsky shortly after my return to Germany from the United States. At first, I lived for a while in Bonn.. .A year later, in 1901, I decided to move to Munich, but still found very little encouragement as an artist. German painters refused to believe that a woman could have real talent, and I was even denied access, as a student, to the Munich Academy.. .It is significant that the first Munich artist who took the trouble to encourage me was Kandinsky, himself no German but a recent arrival from Russia."

"As a child, I devoted much of my leisure to drawing sketches of relatives and friends, familiar sights and scenes, a view that suddenly moved me or appealed to me. I always concentrated on depicting nature as I saw or felt it, in terms of lines, and obtaining a kind of psychological likeness which would convey the personality of my model or the mood of the moment."