People From Bavaria

"It makes no difference whether a work is naturalistic or abstract; every visual expression follows the same fundamental laws."

"Dreams and reality are united in our imagination. The artist possesses the means to create only after he has effective command of his faculty of empathy which he must develop simultaneously with his imaginative capacity."

"The encompassing, creative mind recognizes no boundaries. The mind has ever brought new spheres under its control. All our experiences culminate in the perception of the universe as a whole, with man as its center."

"A work of art is a world in itself reflecting senses and emotions of the artist's world. Just as a flower, by virtue of its existence as a complete organism is both ornamental and self-sufficient as to color, form, and texture, so art, because of its singular existence is more than mere ornament."

"The impulse of nature, fused through the personality of the artist by laws arising from the particular nature of the medium, produces the rhythm and the personal expression of a work. Then the life of the composition becomes a spiritual unity."

"When the impulses which stir us to profound emotion are integrated with the medium of expression, every interview of the soul may become art. This is contingent upon mastery of the medium."

"There is a world of visual beauty open to the one willing to undergo the practice and striving necessary to the understanding of its language. This world is a important as culturally as is the world of words or of music. My ideal is to form and to paint as Schubert sings his songs and as Beethoven creates his world in sounds. That is to say, creation of one’s own inner world through the same human and artistic discipline. An inner sensation can find external expression only through spiritual realization."

"Speech has arisen through the need for expression. Certain factors have contributed to making it the paramount utilitarian method of expression. There are ideas and things expressible in words, but there are ideas better expressed in music, the person with no musical ear, or without discipline in the language of music, lacks the key to the door of the world of musical experience. But we live in a world of volume and space; it is hard to conceive of the person who is space-blind or volume-deaf. The great majority of people have the means of approach to plastic beauty as part of their natural equipment. The teacher can develop this natural endowment as Necessity, the greatest teacher, has developed speech."

"The difference between the arts arises because of the difference in the nature of the mediums of expression and the emphasis induced by the nature of each medium. Each means of expression has its own order of being, its own units."

"Everything rhythmically organic is true. Everything, which results from the proper feeling for rhythmically organized spiritual units, is true and alive — alive within itself. When we lose the sense for such true beauty we lose our natural sense for the rich flavor of life, which is the basis for all inspirational work. Things generally taken for beautiful are nothing other than the product of frozen, stereotyped taste, bound by sterile rules and purely exterior judgment."

"The general misunderstanding of a work of art is often due to the fact that the key to its spiritual content and technical means is missed. Unless the observer is trained to a certain degree in the artistic idiom, he is apt to search for things which have little to do with the aesthetic content of a picture. He is likely to look for pure representational values when the emphasis is really upon music-like relationships."

"It takes intelligence and training, self-discipline and fine-sensibility, to gain renewed life through leisure occupation. America now suffers spiritual poverty, and art must become more fully American life before her leisure can become culture."

"Art is something absolute, something positive, which gives power just as food gives power. While creative science is a mental food, art is the satisfaction of the soul."

"Art leads to a more profound concept of life, because art itself is a profound expression of feeling. The artist is born, and art is the expression of his overflowing soul. Because his soul is rich, he cares comparatively little about the superficial necessities of the material world; he sublimates the pressure of material affairs in an artistic experience."

"The creative process lies not in imitating, but in paralleling nature — translating the impulse received from nature into the medium of expression, thus vitalizing this medium. The picture should be alive, the statue should be alive, and every work of art should be alive."

"The knowledge of reality, achieved by means of the complete sensory equipment, must be expressed artistically in terms of a medium which appeals to the memory of all sensory experience — but only through the eye."

"The physical carrier is overshadowed by a relation. The relation creates an overtone. The physical carrier is absorbed by this overtone. The overtone spontaneously transforms the means of creation into a spiritual reality. The mystery of creation is then revealed."

"It is the greatest injustice done to Mondrian that people who are plastically blind see only decorative design instead of the plastic perfection which characterizes his work. The whole De Stijl group from which Mondrian's art was derived must be considered a protest against such blindness."

"One must realize that, apart from considerations of color and form, there are two fundamentally different ways of regarding a medium of expression: one is based on taste only — an approach in which the external physical elements of expression are merely pleasingly arranged. This way results in decoration with no spiritual reaction. Arrangement is not art. The second way is based on the artist’s power of empathy, to feel the intrinsic qualities of the medium of expression. Through these qualities the medium comes to life.. .In this life, an intuitive artist discovers the emotive and vital substance which makes a work of art."

"The reciprocal relation of color to color produces a phenomenon of a more mysterious order. This new phenomenon is psychological. A high sensitivity is necessary in order to expand color into the sphere of the surreal without losing creative ground. Color stimulates certain moods in us. It awakens joy or fear in accordance with its figuration. In fact, the whole world, as we experience it visually, comes to us through the mystic realm of color. Our entire being is nourished by it. This mystic quality of color should likewise find expression in a work of art."

"Just as counterpoint and harmony follow their own laws, and differ in rhythm and movement, both formal tensions and color tensions have a development of their own in accordance with the inherent laws from which they are separately derived. Both, however, aim toward the realization of the same image. And both deal with the depth problem."

"Since one cannot create 'depth' by carving a hole in the picture, and since one should not attempt to create the illusion of depth by tonal gradation, depth as a plastic reality must be two dimensions in a formal sense as well in the sense of color. 'Depth' is not created on a flat surface as an illusion, but as a plastic reality. The nature of the picture plane makes it possible to achieve depth without destroying the two-dimensional essence of the picture plane. .A plane is a fragment in the architecture of space. When a number of planes are opposed one to another, a spatial effect results. A plane functions in the same manner as the walls of a building.. .Planes organized within a picture create the pictorial space of its composition.. .The old masters were plane-consciousness. This makes their pictures restful as well as vital..."

"Depth, in a pictorial, plastic sense, is not created by the arrangement of objects one after another toward a vanishing point, in the sense of the Renaissance perspective, but on the contrary (and in absolute denial of this doctrine) by the creation of forces in the sense of push and pull. Nor is depth created by tonal gradation (another doctrine of the academician which, at its culmination, degraded the use of color to a mere function of expressing dark and light)."

"A glimpse heavenward at a constellation or even at a single star only suggests infinity; actually our vision is limited. We cannot perceive unlimited space; it is immeasurable. The universe, as we know it through our visual experience, is limited. It first came into existence with the formation of matter, and will end with the complete dissolution of matter.<!-- I TRIMMED this portion to simply cut down a little on quotes from this one essay. ~ 2009·03·21 02:36 Kalki} Where there is matter and action, there is space. Pictorial space exists two dimensionally. When the two dimensionality of a picture is destroyed, it falls into parts — it creates the effect of a naturalistic space. When a picture conveys only naturalistic space, it represents a special case, a portion of what is felt about three-dimensional experience. This expression of the artist’s experience is thus incomplete."

"The relative meaning of two physical facts in an emotionally controlled relation always creates the phenomenon of a third fact of a higher order, just as two musical sounds, heard simultaneously create the phenomenon of a third, fourth or fifth. The nature of this higher third is non-physical. In a sense it is magic. Each such phenomenon always overshadows the material qualities and the limited meaning of the basic factors from which it has sprung. For this reason Art expresses the highest quality of the spirit when it is surreal in nature; or, in terms of the visual arts, when it is of a surreal plastic nature."

"A thought that has found a plastic expression must continue to expand in keeping with its own plastic idiom. A plastic idea must be expressed with plastic means just as a musical idea is expressed with musical means, or a literary idea with verbal means. Neither music nor literature are wholly translatable into other art forms; and so a plastic art cannot be created through a superimposed literary meaning. The artist who attempts to do so produces nothing more than a show-booth. He contents himself with visual story-telling. He subjects himself to a mechanistic kind of thinking which disintegrates into fragments."

"This two-way transformation proceeds from metaphysical perceptions, for metaphysics is the search for the essential nature of reality. And so artistic creation is the metamorphosis of the external physical aspects of a thing into a self-sustaining spiritual reality. Such is the magic act which takes place continuously in the development of a work of art. On this and only on this is creation based."

"The significance of a work of art is determined then by the quality of its growth. This involves intangible forces inherent in the process of development. Although these forces are surreal (that is, their nature is something beyond physical reality), they, nevertheless, depend on a physical carrier. The physical carrier (commonly painting or sculpture) is the medium of expression of the Surreal. Thus, an idea is communicable only when the surreal is converted into material terms. The artist’s technical problem is how to transform the material with which he works back into the sphere of the spirit."

"Art is magic. So say the surrealists. But how is it magic? In its metaphysical development? Or does some final transformation culminate in a magic reality? In truth, the latter is impossible without the former. If creation is not magic, the outcome cannot be magic. To worship the product and ignore its development leads to dilettantism and reaction. Art cannot result from sophisticated, frivolous, or superficial effects."

"Time is Life."

"In the ancient cultural places of the world there was a temple, a church or a cathedral in its center. From there came the order of life. In every modern big city there is a bank building in its center. In my »Pied Piper« I have tried to depict this as a kind of demon cult, where money is something to be prayed to like something sacred. It's even being expressed there in words that it is »God«. It performs miracles, because the multiplication of money itself is yet a miracle. After all, the dealings there are with a miraculous multiplication of money. It has the character of everlastingness. But if there is anything that is just a purely man-made thing, then it's money."

"'You were compelled to?' he repeated. 'You mean you weren't sufficiently powerful to resist?' 'In order to seize power,' replied the dictator, 'I had to take it from those that had it, and in order to keep it I had to employ it against those that sought to deprive me of it.' The chef's hat gave a nod. 'An old, old story. It has been repeated a thousand times, but no one believes it. That's why it will be repeated a thousand times more.' The dictator felt suddenly exhausted. He would gladly have sat down to rest, but the old man and the children walked on and he followed them. 'What about you?' he blurted out, when he had caught the old man up. 'What do you know of power? Do you seriously believe that anything great can be achieved on earth without it?' 'I?' said the old man. 'I cannot tell great from small.' 'I wanted power so that I could give the world justice,' bellowed the dictator, and blood began to trickle afresh from the wound in his forehead, 'but to get it I had to commit injustice, like anyone who seeks power. I wanted to end oppression, but to do so I had to imprison and execute those who opposed me — I became an oppressor despite myself. To abolish violence we must use it, to eliminate human misery we must inflict it, to render war impossible we must wage it, to save the world we must destroy it. Such is the true nature of power.' Chest heaving, he had once more barred the old man's path with his pistol ready.' 'Yet you love it still,' the old man said softly. 'Power is the supreme virture!' The dictator's voice quavered and broke. 'But its sole shortcoming is sufficient to spoil the whole: it can never be absolute — that's what makes it so insatiable. The only true form of power is omnipotence, which can never be attained, hence my disenchantment with it. Power has cheated me.' 'And so,' said the old man, 'you have become the very person you set out to fight. It happens again and again. That is why you cannot die.' The dictator slowly lowered his gun. 'Yes,' he said, 'you're right. What's to be done?' 'Do you know the legend of the Happy Monarch?' asked the old man. ... 'When the Happy Monarch came to build the huge, mysterious palace whose planning alone had occupied ten whole years of his life, and to which marvelling crowds made pilgrimage long before its completion, he did something strange. No one will ever know for sure what made him do it, whether wisdom or self-hatred, but the night after the foundation stone had been laid, when the site was dark and deserted, he went there in secret and buried a termites' nest in a pit beneath the foundation stone itself. Many decades later — almost a life time had elapsed, and the many vicissitudes of his turbulent reign had long since banished all thought of the termites from his mind — when the unique building was finished at last and he, its architect and author, first set foot on the battlements of the topmost tower, the termites, too, completed their unseen work. We have no record of any last words that might shed light on his motives, because he and all his courtiers were buried in the dust and rubble of the fallen palace, but long-enduring legend has it that, when his almost unmarked body was finally unearthed, his face wore a happy smile.'"

"Lots of things take time, and time was Momo's only form of wealth."

"Around the middle of February, I called on Goering one evening in Karinhall. I had discovered from studying the military map that he had concentrated his parachute division around his hunting estate. For a long time he had been made the scapegoat for all the failures of the Luftwaffe. At the situation conferences Hitler habitually denounced him in the most violent and insulting language before the assembled officers. He must have been even nastier in the scenes he had with Goering privately. Often, waiting in the anteroom, I could hear Hitler shouting at him. That evening in Karinhall, I established a certain intimacy with Goering for the first and only time. Goering had an excellent Rotschild-Lafite served at the fireplace and ordered the servant not to disturb us. Candidly, I described my disappointment with Hitler. Just as candidly, Goering replied that he well understood me and that he often felt much the same. However, he said, it was easier for me, since I had joined Hitler a great deal later and could free myself from him all the sooner. He, Goering, had much closer ties with Hitler; many years of common experiences and struggles had bound them together- and he could no longer break loose."

"Even the last scintillating assembly of the leaders of the Reich could scarcely distract me from my cares. That was the gala celebration of Goering's birthday on January 12, 1944, which he held at Karinhall. We all came with expensive presents, such as Goering expected: cigars from Holland, gold bars from the Balkans, valuable paintings and sculptures. Goering had let me know that he would like to have a marble bust of Hitler, more than life size, by Breker. The overladen gift table had been set up in the big library. Goering displayed it to his guests and spread out on it the building plans his architect had prepared for his birthday. Goering's palace-like residence was to be more than doubled in size. At the magnificently set table in the luxurious dining room flunkies in white livery served a somewhat austere meal, in keeping with the conditions of the time. Funk, as he did every year, delivered the birthday speech at the banquet. He lauded Goering's abilities, qualities, and dignities and offered the toast to him as "one of the greatest Germans." Funk's extravagant words contrasted grotesquely with the actual situation. The whole thing was a ghostly celebration taking place against a background of collapse and ruin."

"I learned that besides Hitler, only Göring was charismatic and powerful enough to have had a German constituency of his own. (...) In the early days of Hitler's regime he was the man of action."

"Hermann Göring, at this time Hitler’s most important associate, held overall responsibility for economic planning. His Four-Year-Plan Authority had been charged with preparing the German economy for war between 1936 and 1940. Now his Four-Year-Plan Authority, entrusted with the Hunger Plan, was to meet and reverse Stalin’s Five-Year Plan. The Stalinist Five-Year Plan would be imitated in its ambition (to complete a revolution), exploited in its attainment (the collective farm), but reversed in its goals (the defense and industrialization of the Soviet Union). The Hunger Plan foresaw the restoration of a preindustrial Soviet Union, with far fewer people, little industry, and no large cities. The forward motion of the Wehrmacht would be a journey backward in time. National Socialism was to dam the advance of Stalinism, and then reverse the course of its great historical river. Starvation and colonization were German policy: discussed, agreed, formulated, distributed, and understood. The framework of the Hunger Plan was established by March 1941. An appropriate set of “Economic Policy Guidelines” was issued in May. A somewhat sanitized version, known as the “Green Folder,” was circulated in one thousand copies to German officials that June. Just before the invasion, both Himmler and Göring were overseeing important aspects of the postwar planning: Himmler the long-term racial colony of Generalplan Ost, Göring the short-term starvation and destruction of the Hunger Plan. German intentions were to fight a war of destruction that would transform eastern Europe into an exterminatory agrarian colony. Hitler meant to undo all the work of Stalin. Socialism in one country would be supplanted by socialism for the German race. Such were the plans."

"Now, for example, Göring made an excellent impression. I must say I rather liked him. The fashion was for 'strong men.' Göring had his weaknesses — he was like a child in many respects — but he was a human being."

"At eleven minutes past 1 A.M. on October 16, 1946, Ribbentrop mounted the gallows in the execution chamber of the Nuremberg prison, and he was followed at short intervals by Keitel, Kaltenbrunner, Rosenberg, Frank, Frick, Streicher, Seyss-Inquart, Sauckel and Jodl. But not by Hermann Goering. He cheated the hangman. Two hours before his turn was to have come he swallowed a vial of poison that had been smuggled into his cell. Like his Fuehrer, Adolf Hitler, and his rival for the succession, Heinrich Himmler, he had succeeded at the last hour in choosing the way in which he would depart this earth, on which he, like the other two, had made such a murderous impact."

"Goering's great air offensive against Great Britain, Operation Eagle (Adlerangriff), had been launched on August 15 with the objective of driving the British Air Force from the skies and thus achieving the one condition on which the launching of the invasion depended. The fat Reich Marshal, as he now was, had no doubts about victory. By mid-July he was confident that British fighter defenses in southern England could be smashed within four days by an all-out assault, thus opening the way for the invasion. To destroy the R.A.F. completely would take a little longer, Goering told the Army High Command: from two to four weeks. In fact, the bemedaled German Air Force chief thought that the Luftwaffe alone could bring Britain to her knees and that an invasion by land forces probably would not be necessary."

"There came a time when Adolf Hitler was in his way too, and when his elimination would not only have resulted in the apotheosis of Hermann Goering but in the re-emergence of sanity in Germany. But it turned out that the man who was not afraid of anything else, danger or death, was afraid of Adolf Hitler. Rather than challenge him in a last mortal combat and finish him off, for Germany's sake, as well as for the world, he opted out of the struggle. It is that failure to show his abhorrence, to take a stand, to oust Hitler before it was too late, for which history will not forgive him."

"Dr. Douglas M. Kelley, the psychiatrist at Nuremberg, was talking to Goering one day when the Reich Marshal recounted how he and Ernst Roehm had built up the Brownshirt Army between them. "It was evident," Kelley noted at the time, "that Roehm and Goering were more than brothers in arms, they were friends." Then Goering went on to tell how he and Roehm had become rivals for Hitler's favor, and how he finally had arranged for Roehm to be shot during the purge. Kelley broke in and asked him how he could have brought himself to arrange the killing of a friend. "Goering stopped talking and stared at me, puzzled, as if I were not quite bright," Kelley noted. "Then he shrugged his great shoulders, turned up his palms and said slowly, in simple, one-syllable words: 'But he was in my way...'""

"History will no doubt recognize that he was a man of extraordinary talents and considerable achievements. He played a large part in restoring the self-respect of the German people and forcing the world to pay attention to them. He built up the German Luftwaffe into a formidable force which might have won World War II for Germany in 1940 had it been used the way he planned. He worked hard, and at considerable risk, to prevent the war in the West from starting in 1939 and the war in Russia in 1941. He was an extremely brave man, and faced manfully up to the challenges of war, of pain, and, at the end, of death without flinching. No future historian will be able to avoid conceding that at the International Military Tribunal at Nuremberg, with a poor case to fight, he challenged his opponents and won. His supreme victory was to cheat them in the end of his body dangling from their gallows. But for all his fearlessness and defiance, there is once vice from which Hermann Goering suffered which will prevent any history book from accepting him as a great man. It was not the vice of vanity, from which, when all's said and done, many great men have suffered. It was not his hard-driving and ruthless ambition, for that has carried many a great leader to the top in times gone by. It was not his flamboyance, which outraged so many of his contemporaries, but would not be unnoticed on Carnaby Street or Sunset Boulevard today. It was not even his Nero-like capacity for fiddling while Rome was burning, or, rather, playing with his jewels and drooling over his pictures while Germany was sinking into defeat, because what else was there to do? The vice from which Goering suffered, and for which the history books will undoubtedly blame him, was his moral cowardice. It was his great crime. All through his association with Adolf Hitler, there were moments when he might have changed the course of National Socialism and Germany's race to perdition- by arguing with and persuading the Fuehrer to begin with, by usurping him when that was no longer possible."

"Shoot first and inquire afterwards, and if you make mistakes, I will protect you."

"Guns will make us powerful; butter will only make us fat."

"The Jew must clearly understand one thing at once, he must get out!"

"Now you see. You are even turning the Fuehrer against me. Ah, the Jews, the Jews, they'll be the death of me yet!"

"Excellency, please sign. I hate to say it, but my job is not the easiest one. Prague, your capital–I should be terribly sorry if I were compelled to destroy this beautiful city. But I would have to do it, to make the English and French understand that my air force can do all it claims to do. Because they still don't want to believe this is so, and I should like an opportunity of giving them proof."

"Supplementing the task assigned to you by the decree of January 24, 1939, to solve the Jewish problem by means of emigration and evacuation in the best possible way according to present conditions, I hereby charge you to carry out preparations as regards organizational, financial, and material matters for a total solution (Gesamtlösung) of the Jewish question in all the territories of Europe under German occupation.Where the competency of other central organizations touches on this matter, these organizations are to collaborate.I charge you further to submit to me as soon as possible a general plan of the administrative material and financial measures necessary for carrying out the desired final solution (Endlösung) of the Jewish question."

"The only one who really knows about the Reichstag is I, because I set it on fire!"