people-from-the-soviet-union

"The works create new poetry, which involuntarily rivals with habitual esthetic stereotypes. For instance, we accept as a common notion to worship joyously the classic beauty of Saint Petersburg, its harmony and stately grandeur. This exposition does have variations of that sort. But observe “Night Nevsky” by Parygin. Rough to the touch texture, dark abyss. In the darkness urgent lights explode. They bring forth immediate spiritual angst. One does not regard the regal magnificence of the urban landscape-it is neither cast aside, nor left behind the curtains, as dramatism of modern perception takes over. One regards not a city museum for curious crowds, but one beholds the habitat of our days where we seek, love, fight, suffer. That art defines perception."

"As I mentioned before, exposure to true information does not matter anymore. A person who is demoralized is unable to assess true information. The facts tell him nothing, even if I shower him with information, with authentic proof, with documents and pictures. ...he will refuse to believe it... That's the tragedy of the situation of demoralization."

"My dear friends, I think you are in very big trouble. Whether you believe it or not, YOU ARE AT WAR. And you may lose this war very soon together with all your affluence and freedoms unless you start defending yourselves."

"People all over the Earth whether they praise America or bitterly criticize her, look upon you as the only hope for mankind's survival and the last stronghold of freedom. Some may not think in these idealistic terms, but they certainly enjoy the fruits of your civilization often forgetting to be grateful for them."

"There are no indecipherable writings, any writing system produced by man can be read by man."

"What created by a human mind, can be solved by another human mind. From this point of view, unsolved problems do not exist and can not exist in any area of science."

"During the war she had given The Well-Tempered Clavier at a splendid concert, even if she polished off the contemplative Prelude in B-flat minor from Book Two at a constant fortissimo. At the end of the concert, Neuhaus, whom I was accompanying, went to congratulate her in her dressing-room. 'But, Maria Veniaminovna,' he asked her, 'why did you play the B-flat minor Prelude in such a dramatic way?' 'Because we are at war!' It was typical of Yudina. 'We’re at war!' She absolutely had to bring the war into Bach."

"She also used to wander around with a revolver, which she would show to all and sundry. It really was a bit much. She used to say: 'Hold this thing for me, but be careful, it’s loaded.’ One day she developed a crush on someone who didn’t return her advances. One can understand why; he must have been terrified of her. And so she challenged him to a duel. By the end of her concerts I always used to have a headache. She subjected her audiences to such a degree of intensity, an incredible intensity! And then there was her way of coming onstage; you had the impression she was walking through the rain. And she carried a crucifix and crossed herself before launching into the first note. I’ve nothing against this, but in Soviet Russia, at that time!… Of course, she cared for the poor, took them in and lived like a tramp herself. An eccentric woman and an extraordinary artist, but someone who always felt the need to invent things… Even so, I played at her funeral. Rachmaninoff."

"Maria Veniaminovna Yudina was a monstre sacré. I knew her, but only from afar – it has to be said that she was so odd that everyone avoided her. For her own part, she showed herself somewhat suspicious and critical of me. She said of me: ‘Richter? Hmm… As a pianist, he’s good for Rachmaninoff.’ From her lips, that wasn’t a compliment, even though she herself occasionally played Rachmaninoff. She had graduated from the Petrograd Conservatory in the early twenties, at the same time as Vladimir Sofronitsky – a giant of a man who played Schumann and Debussy magnificently and Scriabin like nobody else. By the end of her life Yudina was an outrageous figure, a sort of Clytemnestra, always dressed in black and wearing sneakers for her concerts. She was immensely talented and a keen advocate of the music of her own time: she played Stravinsky, whom she loved, Hindemith, Krenek and Bartók at a time when these composers were not only unknown in the Soviet Union but effectively banned. And when she played Romantic music, it was impressive – except that she didn’t play what was written. Liszt’s Weinen und Klagen was phenomenal, but Schubert’s B-flat major Sonata, while arresting as an interpretation, was the exact opposite of what it should have been, and I remember a performance of the Second Chopin Nocturne that was so heroic that it no longer sounded like a piano but a trumpet. It was no longer Schubert or Chopin, but Yudina."

"He [Gilels] played in an easy, natural manner, with strong but unassuming musicianship. His technique was brilliant; years later Neuhaus, still astonished, was to recall Gilels's incredible octaves in Liszt's Spanish Rhapsody. Yet Gilels was never looked upon as a mere virtuoso. As a matter of fact, his programs did not often include music pour epater le bourgeois. He played a stedy diet of Beethoven (the Hammerklavier was a work that strongly engaged his last years), Schubert, Schumann, Chopin and Brahms. In many respects, the great virtuoso who put his authoritative stamp on whatever he played was, at the same time, a thinking man's pianist."

"Of the Russian pianists I like only one, Richter. Gilels did some things well, but I did not like his mannerisms, the way he moved around while he was playing."

"There is no indication of success up to now in the bringing together of art and science. To achieve success the artist must be spiritually at home in the field of science so he can think and feel in the same way as the scientist. A spiritual union, not a technical one, is requested."

"Either build functional houses and bridges or create pure art or both. Don't confuse one with the other. Such art is not pure constructive art, but merely an imitation of the machine."

"We take four planes and we construct with them the same volume as of four tons of mass."

"Space and time are the only forms on which life is built and hence art must be constructed... The realisation of our perceptions of the world in the forms of space and time is the only aim of our pictorial and plastic art... We renounce the thousand-year-old delusion in art that held the static rhythms as the only elements of the plastic and pictorial arts. We affirm in these arts a new element, the kinetic rhythms as the basic forms of our perception of real time."

"No new artistic system will withstand the pressure of a growing new culture until the very foundation of Art will be erected on the real laws of life. Until all artists will say with us... All is a fiction... only life and its laws are authentic and in life only the active is beautiful and wise and strong and right, for life does not know beauty as an aesthetic measure... efficacious existence is the highest beauty. Life knows neither good nor bad nor justice as a measure of morals... need is the highest and most just of all morals. Life does not know rationally abstracted truths as a measure of cognizance, deed is the highest and surest of truths. Those are the laws of life. Can art withstand these laws if it is built on an abstraction, on mirage, and fiction?..."

"I have come to the conclusion that a work of art restricted to what the artist has put in it is only a part of itself. It only attains full stature with what people and time make of it. It involves the whole complex of human relation to life. It is a mode of thinking, acting, perceiving and living."

"We know only what we do, what we make, what we construct; and all that we make, all that we construct, are realities. I call them images, not in Plato's sense (namely that they are only reflections of reality), but I hold that these images are the reality itself and that there is no reality beyond this reality except when in our creative process we change the images: then we have created new realities."

"If I were an academician.. ..or a believer in a higher reality outside me, as most people are (lucky creatures!), I would have no need for any justification for painting landscapes, or portraits, or social realism. I would rely on my so-called common sense, on which I see and feel, and I would enjoy it. Or I would fix one point in the distant haze of that unknown reality, would try to approach it as nearly as I could, and would find solace in the fanatical belief that I am the only one who is portraying that reality which is the only truth."

"Art and Science are two different streams which rise from the same creative force and flow into the same ocean of the common culture, but the currents of these two streams flow in different directions."

"More often than not, [people] expect a painting to speak to them in terms other than visual, preferably in words, whereas when a painting or a sculpture needs to be supplemented and explained by words it means either that it has not fulfilled its function or that the public is deprived of vision,"

"He (Piet Mondrian) couldn't look after himself properly. He was terrible [sic] thin, and seemed to live mostly on currants and vegetable stew, because he followed the Haye diet."

"It needs a poet like Schwitters to show us that unobserved elements of beauty are strewn and spread all around us and we can find them everywhere in the portentous as well as in the insignificant, if only we care to look, to choose and to fit them into a comely order."

"[The Constructive idea..] has revealed a universal law that the elements of a visual art such as lines, colours, shapes, possess their own forces of expression independent of any association with the external aspects of the world; that their life and action are self-conditioned psychological phenomena rooted in human nature; that those elements are not chosen by convention by any utilitarian or other reason as words and figures are, they are not merely abstract signs, but they are immediately and organically bound up with human emotions. The revelation of this fundamental law has opened up a vast field in art giving the possibility of expression to those human impulses and emotions which have been neglected."

"Science looks and observes and art see and foresees. Every great scientist has experienced a moment when the artist in him saved the scientist."

"The shapes we are creating are not abstract, they are absolute."

"[ Constructivism is] not as a tool or even a specific method, but rather as a perfect union of the coming state and the movement's 'spiritual' aims."

"The growth of new ideas is more difficult and lengthy the deeper they are rotted in life. Resistance to them is the more obsitnate and exasperated the more persistent their growth is."

"Up to now sculptors have preferred the mass and neglected or paid little attention to such an important component of mass as space.. ..we consider it as an absolute sculptural element. I do not hesitate to affirm that the perception of space is a primary natural sense which belongs to the basic senses of our psychology"

"..adding Space perception to the perception of Masses, emphasizing it and forming it, we enrich the expression of Mass.. ..through the contrast between them whereby Mass retains its solidity and Space its extension."

"I realized that the image I had been given by my teachers, the scientists.. ..by their way of looking at Nature, was just another stage setting with all the magnificence and ingenuity that the genius of any artist produces in a work of art. I realized that in my scientific journey I had been under the power of a magic spell of a work of art whose reality was just as true as the verity of the image in an artist's vision."

"From the very beginning of the Constructivist Movement it was clear to me that a constructed sculpture, by its very method and technique brings sculpture very near to architecture.. .My works of this time up to 1924.. ..are all in the search for an image which would fuse the sculptural element with the architectural element in one unit. I consider this Column the culmination of that search."

"What we cannot express by the art of thinking, by the art of Science or philosophy or logic, we can and should express by the poetic, visual, or some other arts. It is for that reason that I consider morals and aesthetics one and the same; for they cover only one impulse, one drive inherent in our consciousness - to bring our life and all our actions into a satisfactory relationship with the events of the world, as our consciousness want it to be, in harmony with our life and according to the laws of consciousness itself - Naum Gabo"

"The true artist always refuses to conform to any standards others than his own. That’s why the attacks in Russia against Shostakovitch and Prokofiev are identical to the attacks that have been made here against American pioneers of abstract painting like Davis, Holty, or Morris. In Russia it was Malevich and Gabo, in this country at the moment it is people like Rothko, Baziotes, Pollock, my self and many others who are being attacked. The names may vary, but the methods, the motives; the objects of attack are essentially the same. Only meritocracy is forever immune, because it is forever ready to conform. (his comment on the attacks on artistic freedom in 1948."

"The point they (Lissitzky, Rodchenko, Tatlin, Gabo, the neo-Plasticists, and so on) all had in common was to be inside and outside at the same time... For me, to be inside and outside is to be in an unheated studio with broken windows in the winter, or taking a nap on somebody’s porch in the summer."

"There was no ground for us beyond [the] Volga."

"The duel went on for three days, but it ended in our victory in a matter of seconds. The German was well prepared for it. He had liquidated two Soviet snipers before that. But, with the help of my comrades-in-arms, also snipers whose positions were next to mine, I managed to slay him. I did not know what kind of sniper had been brought to Stalingrad, but when we pulled him out of his shelter we discovered that he was the chief of the school for snipers based in Berlin. On the whole I liquidated 242 Nazis in Stalingrad. My friends and pupils also eliminated many of them. I had trained 30 snipers who killed 1126 Nazis during the war."

"We must constantly encourage Western journalists to write precisely the opposite of our real intentions and anyone who writes or speaks about our real intentions accurately or impartially in the Western sense of these words must quickly be dismissed and ridiculed as someone of the Right or a fascist, someone who wants to bring back McCarthyism."

"I think, that it is our common duty from now on to stop Chinese penetration of the international Communist movement and in relation to Western powers to show China as the main present and future troublemaker."

"The Cheka and each of its organizational descendants had a 'Disinformation Desk' until reorganization of the KGB in 1959 produced a full-fledged Disinformation Department known as Department D of the First Chief Directorate. The first director was General Ivan Ivanovich Agayants, a tall aloof Armenian with grizzled hair and a thin gray mustache. Ascetic and solemn, Agayants combined personal puritanism with a penchant for professional ruthlessness. He gathered a staff of some fifty officers at the Centre and stationed another fifteen to twenty at the KGB's Karlshorst Residency in East Berlin. Additionally, he received authorization to engage scientists, technical specialists, and military officers as consultants whenever needed."

"Old intelligence hands still remember this good-natured and wise man."

"The arrival of the Nazi sniper set us a new task. We had to find him, study habits and methods, and patiently await the moment for one, and only one, well-aimed shot."

"If Soviet Union were to fire over this zone with nuclear weapons directed at France, or if, conversely, the Americans or the French were to fire over this territory with nuclear weapons towards Russia, the resulting radioactive clouds would be driven into this territory by the west winds from the one side, and the east winds from the other, and the Soviet Union could certainly not request the winds to keep to a specific path."

"Like Lenin Comrade Stalin is a leader of a higher type. He is a mountain eagle, without fear in the fight, who boldly leads the bolshevik party on unexplored roads toward the total victory of Communism."

"Stalin's methods did not help."

"The principle of collective leadership is elementary for a proletarian party and for a party of the Lenin type. Nevertheless, we must emphasize this old truth, because for about 20 years we have had practically no collective leadership; there flourished the cult of the individual which was condemned first by Marx and then by Lenin. And this, of course, could not but reflect negatively on the position of the party and its work."

"We are watching the Germans closely; we are not forgetting what they did to us during the war."

"Ordinary people abroad take a better attitude toward men who come as guests with their wives. And if they are accompanied by other members of their family, that disposes people even more favorably toward them. Therefore, I would propose that Khrushchev take Nina Petrovna with him and also include in the delegation other members of his family. This will be well received by ordinary Americans, and that would be better for us."

"If Stalin could only see us now, with the American Ambassador here, he'd turn in his grave."

"While Zinoviev is in the majority he is for iron discipline.... When he is in the minority... he is against it."