People From Moscow

"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."

"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."

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

"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."

"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."

"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?"

"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."

"In this painting ['Moscow'], I was in fact in quest for a certain hour, which was and which remains always the most beautiful hour of the day in Moscow. The sun is already low and has reached its highest force, which it has searched all the day, to which it has aspired all the day.. .The sun dissolves all Moscow in a spot, which as a frenzied tuba makes entered into vibration all the inner being, the whole soul.. .Rendering this hour seemed the biggest, the most impossible of the happiness for an artist. These impressions renewed every sunny day. They brought me a joy which shattered me until the bottom of the soul, and which reached until ecstasy."

"The disharmoniousness (one might say, the negative rhythm) of the individual forms was that which primarily drew me, attracted me, during the period to which this watercolor belongs. The so-called rhythmic always comes on its own because in general the person himself is rhythmically built. Thus at least on the surface, the rhythmic is innate in people. Children, 'primitive' peoples, and laymen draw rhythmically.. In that period my soul was especially enchanted by the not-fitting-together of drawn and painterly form. Line serves the plane in that the former bounds the latter. And it makes my heart race in those cases when the independent plane springs over the confining line: line and plane are not in tune! It was this that produced a strong inner emotion in me, the inner 'ah!"

"The more freely abstract the form becomes, the purer, and also the more primitive it sounds. Therefore, in a composition in which corporeal elements are more or less superfluous, they can be more or less omitted and replaced by purely abstract forms, or by corporeal forms that have been completely abstracted.. .Here we are confronted by the question: Must we not then renounce the object altogether, throw it to the winds and instead lay bare the purely abstract? This is a question that naturally arises, the answer to which is at once indicated by an analysis of the concordance of the two elements of form (the objective and the abstract). Just as every word spoken (tree, sky, man) awakens an inner vibration, so too does every pictorially represented object. To deprive oneself of the possibility of this calling up vibrations would be to narrow one's arsenal of expressive means. At least, that is how it is today. But apart from today's answer, the above question receives the eternal answer to every question in art that begins with 'must.' There is no 'must' in art, which is forever free."

"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."

"[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 [of Die Brücke paintings in The Blaue Reiter Almanac]."

"An artist who sees that the imitation of natural appearances, however artistic, is not for him – the kind of creative artist who wants to, and has to express his own inner world – sees with envy how naturally and easily such goals can be attained in music, the least material of the arts today. Understandably, he may turn toward it and try to find the same means in his own art. Hence the current search for rhythm in painting, for mathematical abstract construction.. ..the way colors are set in motion, etc."

"..the works of Mozart. They create a welcome pause amidst the storms of our inner life, a vision of consolation and hope, but we hear them like sounds of another, vanished and essential unfamiliar age. Clashing discords, loss of equilibrium.."

"At the moment there is a great tendency in painting to discover the 'new' harmony by constructive means whereby the rhythmic is built on an almost geometric form.. .I am certain that our own modern harmony is not to be found in the 'geometric' way, but rather in the anti-geometric, anti-logical way. And this way is that of 'dissonance in art', in painting, therefore, just as much as in music. And 'today's' dissonance in painting and music is merely the consonance of 'tomorrow'."

"What is resignation? It is putting God between one's self and one's grief."

"The only true method of action in this world is to be in it, but not of it."

"My experience is that Christianity dispels more mystery than it involves. With Christianity, it is twilight in the world; without it, night. Christianity does not finish the statue,—that is heaven's work; but it "rough-hews" all things,—truth, the mind, the soul."

"The inventory of my faith for this lower world is soon made out. I believe in Him who made it."

"Strength alone knows conflict. Weakness is below even defeat, and is born vanquished."

"Youth should be a savings-bank."

"To love deeply in one direction makes us more loving in all others"

"Accustom yourself to tireless activity..."

"The Russian Orthodox Church of the Moscow Patriarchate has a long history of canonizing Russian military figures of the past, but its decision to begin the canonization process for Aleksandr Suvorov is deepening the divide between Russians and non-Russians against whom he carried out acts of genocide, Kharun (Vadim) Sidorov says."

"Comrades, men of the Red Army and Red Navy, commanders and political instructirs, men and women guerillas, the whole world is looking towards you as a force capable of destroying the plundering hordes of German robbers. The enslaved peoples of Europe who have fallen beneath the yoke of the German robbers look towards you as their liberators. A great liberating mission has fallen to your lot. Be worthy of that mission! The war you are waging is a war of liberation, a just war. Let the heroic images of our great forefathers - Aleksandr Nevsky, Dimitry Donskoy, Kuzma Minin, Dimitry Pozharsky, Aleksandr Suvarov and Mikhail Kutuzov - inspire you in this war! May the victorious banner of the great Lenin be your lodestar!"

"Judgment of eye, speed and attack are the basis of victory."

"To surprise the enemy is to defeat him."

"As long as the enemy fights he must be beaten relentlessly, but a defeated enemy and especially the civilian population must be treated generously."

"Fortune seized at the right moment gives victory."

"One minute decides the outcome of a battle, one hour the success of a campaign, one day the fate of empires."

"When the enemy is driven back, we have failed, and when he is cut off, encircled and dispersed, we have succeeded."

"Die for the Virgin, for your mother the Empress, for the royal family. The Church will pray to God for the dead. The survivor has honor and glory."

"The more comfort the less courage there is."

"Fire opens the gates of victory."

"A strong pursuit, give no time for the enemy to think, take advantage of victory, uproot him, cut off his escape route."

"Exercises cultivated self-reliance - the foundation of courage."

"Drill your soldiers well, and give them a pattern yourself."

"Fight the enemy with the weapons he lacks."

"If we had not driven them into hell... hell would have swallowed us."

"To me death is better than the defensive."

"The officers know that I myself am not ashamed to work at this. ...Suvorov was Major, and Adjutant, and everything down to Corporal; I myself looked into everything and could teach everybody."

"It is very difficult to do one's duty. I was considered a barbarian because at the storming of the Praga 7,000 people were killed. Europe says that I am a monster. I myself have read this in the papers, but I would have liked to talk to people about this and ask them: is it not better to finish a war with the death of 7,000 people rather than to drag it on and kill 100,000."

"The three military arts. First - Apprehension, how to arrange things in camp, how to march, how to attack, pursue, and strike; for taking up position, final judgement of the enemy's strength, for estimating his intentions. Second - Quickness... This quickness doesn't weary the men. The enemy doesn't expect us, reckons us 100 versts away, and if a long way off to begin with - 200, 300 or more - suddenly we're on him, like snow on the head; his head spins. Attack with what comes up, with what God sends; the cavalry to begin, smash, strike, cut off, don't let slip, hurra! Brothers do miracles! Third - Attack. Leg supports leg. Arm strengthens arm; many men will die in the volley; the enemy has the same weapons, but he doesn't know the Russian bayonet. Extend the line - attack at once with cold steel; extend the line without stopping... the Cossacks to get through everywhere... In two lines is strength; in three, half as much again; the first breaks, the second drives into heaps, the third overthrows."

"No battle can be won in the study, and theory without practice is dead."

"Win with ability, not with numbers."

"Train hard, fight easy."

"The bullet is a mad thing; only the bayonet knows what it is about."