Painters From Switzerland

"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."

"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."

"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..."

"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]"

"..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."

"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."

"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."

"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 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."

"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."

".. we parted in 1914, when Kandinsky, being an enemy alien [because of the outbreak of World War 1. - he had a Russian nationality], had to flee from Germany to Switzerland, as did Jawlensky and Marianne von Werefkin too [Switzerland].. .Ever since we parted in 1914, I have worked mainly by myself. After the First World War, here in Munich, we found that our Blue Rider group had broken up. Marc and Macke had both been killed [World War 1.], Kandinsky, Jawlensky and Marianne [Werefkin] were no longer here; Bloch and Burliuk were in America. Besides.. ..we had always been individualists and our Blue Rider group never had a style of its own as uniform as that of the Paris cubists."

"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."

"Yes, we [Marianne von Werefkin and Gabriele Münter,] shared very much the same tastes and ideas, when we lived together in this house (the 'Russian house' in Murnau]. She was extremely perceptive and intelligent, but Alexej von Jawlensky (her 'husband' but not married] didn't always approve of her work.. .Suddenly Jawlensky would pick on some tiny detail of one of Marianne's best and most original pictures and exclaim: 'That patch of color, there, is laid on much too flat and smoothly. It's just like old Riepin [Russian painter [[w:Ilya Repin|Ilya Repin], and former art teacher of Marianne ànd Jawlensky]. Of course it was nonsense and he was only saying it to annoy her. But Jawlensky really was a devotee of the 'touche de peinture' of the French Fauvists, rather than an innovator..."

"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."

"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."

"..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."

"..he [ Jawlensky ] is the creation of my life, my ultimate goal, my torture."

"Any art is a concentrated feeling of love elevated to a world view and translated into an artistic language of symbols."

"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 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."

"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..."

"The immaterial blue colour shown at Iris Clert's in April had in short made me inhuman, had excluded me from the world of tangible reality; I was an extreme element of society who lived in space and who had no means of coming back to earth. Jean Tinguely saw me in space and signaled to me in speed to show me the last machine to take to return to the ephemerality of material life."

"Jean Tinguely's art is built around the idea of the wheel. The wheel's circular movement is in its continuity an eternal repetition. But it is also an eternal renewal.. .In practical machines the goal is to reduce irregularities as much as possible. Tinguely seeks the opposite. He seeks mechanical disorder. The cogs in his wheels are made as to constantly produce inconsistent chance ridden movement. His connections lack al1 precision except that of chance, his wheels have kept their character as symbols for an eternal transformation. They are chance in function. They are a new and original formulation of Marcel Duchamp's idea to use chance intentionally.. .These new creatures of the art world live in an enviable freedom. They stand outside al1 laws and are not bound by systems. This art exemplifies pure anarchy when it is most beautiful. It is an art which is thoroughly revolutionary, thoroughly dynamic, freer than we could ourselves ever hope to become.. .It is a piece of pure existence, forever changing, that doesn't need to mean or hint at something just as a flower or a rat doesn't have to mean.. But one is mistaken to believe that their artistic message is innocent or harmless. It is, actually, loaded with a freedom like a bomb with trotyl. It is a small latent attack against all established order, it is a symbol for an enormous freedom and should scare all righteous thinkers if they could understand its power. It is a symbol for an absolute, dizzying and unbelievable freedom. It personifies a freedom which otherwise would not exist, and therein lies its value. These machines are more anti-machines than machines.. .Military technology and scientific knowledge is constantly a direct threat against Our individual existence.. .Already with Dada we saw a clear skepticism against the technological world. Duchamp's ready-made, the artwork chosen from mass reproduction, contains much irony against machines, and gets its potency not until it is paradoxically freed from its function. As I see it, [Tinguely's work] it represents one of the most conscious expressions for a new type of modem art.. .This art is an anti-social expression. One has to attack machines in their own territory [my italics].. .The weapon of Tinguely's machines is irony."

"[Tinguely is a] Meta-Dadaist.. ..[who had] fulfilled certain ideas of ours, notably the idea of motion."

"[something like] a badly constructed or repaired motor, or like that wonderful event of Tinguely, where he made a huge contraption in the backyard of the Museum of Modern Art called 'Homage to New York', which was a machine that destroyed itself in various humorous ways. It's that breakdown system along with slippages that you can't predict I find most interesting, not because I want to make a point about society as being a broken down system or that all life is entropic — I don't, but rather that its process is unforeseeable."

"During my nightmarish time in a coma, 11 days long, you kept appearing in my dreams, wild, you and Slava, like gypsies & always too late. You were a two-man orchestra & we were always looking for you and waiting for you."

"With Dada I.. ..have in common a certain mistrust toward power. We don't like authority, we don't like power, To me art is a form of manifest revolt, total and complete. It's a political attitude which doesn't need to found a political party. It's not a matter of taking power; when you are against it, you can't take it. We're against all forms of force which aggregate and crystallize an authority that oppresses people. Obviously this is not a characteristic of my art alone - it's much more general, a basic political attitude. It's a clear intention, more necessary today than ever, to oppose all forms of force emanating from a managing, centralizing political power."

"My ghosts are satisfied."

"Time is movement and cannot be checked. Time passes us and rushes on, and we remind behind, old and crumbled. But we are juvenated again and again by static and continuous movement. Let us be transformed! Let us be static! Let us be against stagnation and for static!"

"To attempt to hold fast an instant id doubtful."

"I wanted something ephemeral, that would pass like a falling star and, most importantly, that would be impossible for museums to reabsorb. I didn't want it to be 'museumised'. The work had to pass by, make people dream and talk, and that would be all, the next day nothing would be left, everything would go back to the garbage bins."

"On one level, the machines that he created are devised to instill fear in the spectator; on another level, his machines sought to fill the spectator with astonishment or admiration. As the machines grew larger, filling up the space of the exhibition room, their movements became increasing complex. In 1966, artists pursued the creating of architectural environments for experiments in optical and kinetic technology."

"There is no death! Death only exists for those who cannot accept evolution. Everything changes. Death is a transition from movement to movement. Death is static. Death is movement. Death is static. Death is movement."

"So-called immobile objects exist only in movement. Immobile, certain, and permanent things, ideas, works and beliefs change, transform, and disintegrate. Immobile objects are snapshots of a movement whose existence we refuse to accept, because we ourselves are only an instant in the great movement. Movement is the only static, final, permanent, and certain thing. Static means transformation. Let us be static together with movement. Move statically! Be static! Be movement! Believe in movement's static quality. Believe in change. Do not hold onto anything. Change! Do not pinpoint anything! Everything about us is movement. Everything around us is change. Believe in movement's static quality. Be static."

"Be yourself by growing above yourself. Don’t stand in your own way. Let us change with, and not against, movement. Then we shall be static and shall not decompose. Then there will be neither good nor evil, neither beauty nor unsightliness, neither truth nor falsehood. Conceptions are fixations. If we stand still, we block our own path, and we are confronted with our own controversies."

"francais: Actuellement mes machines sont noires et parfois même douces, si pas sexy ou alors d'une violence contenue, techniquement j'arrive enfin à les faire bien."

"Currently, my machines are black and sometimes gentle, if not sexy or exuding a contained violence; I finally found the technical means for accomplishing this."

"Immobile, certain, and permanent things, ideas, works and beliefs change, transform, and disintegrate...Movement is the only static, final, permanent, and certain thing. Static means transformation...Do not hold on to anything...Do not pinpoint anything!.. .We are fooling ourselves if we close our eyes and refuse to recognize the change.. .Decomposition begins only when we try to prevent it.. .We would so much like to own, think, or be something static, eternal, and permanent. However, our only eternal possession will be change.. .To attempt to hold fast an instant is doubtful.. .How beautiful it is to be transitory. How lovely it is not to have to live forever."

"Let us contradict ourselves because we change. Let us be good and evil, true and false, beautiful and loathsome. We are all of these anyway. Let us admit it by accepting movement. Let us be static! Be static!"

"Static, static, static! Be static! Be static! Movement is static! Movement is static! Movement is static because it is the only immutable thing - the only certainty, the only unchangeable. The only certainty is that movement is static."

"Everything moves continuously. Immobility does not exist. Don't be subject to the influence of out-of-date concepts. Forget hours, seconds and minutes. Accept instability. Live in Time. Be static - with movement. For a static of the present movement. Resist the anxious wish to fix the instantaneous, to kill that which is living. Stop insisting on 'values' which can only break down. Be free, live. Stop painting time. Stop evoking movements and gestures. You are movement and gesture. Stop building cathedrals and pyramids which are doomed to fall into ruin. Live in the present, live once more in Time and by Time - for a wonderful and absolute reality"

"Only in movement do we find the true essence of things. Today we can no longer believe in permanent laws, defined religions, durable architecture or eternal kingdoms. Immutability does not exist. All is movement. All is static."

"They'll all pee blue for one week to ten days, for about the duration of the show. The first opening I've enjoyed!"

"THE ONLY STABLE THING IS MOVEMENT"

"The relationship of art and play: to play is art - consequently I play. I play enraged."

"We are afraid of movement because it stands for decomposition – because we see our desintegration in movement. Continuous static movement marches on ! It cannot be stopped. We are fooling ourselves if we close our eyes and refuse to recognize the change. Actually, decomposition does not exist! Decomposition does not exist ! Decomposition is a state envisaged only by us because we do not want it to exist, and because we dread it."

"We are still very much annoyed by out-of-date notions of time. Please, would you throw away your watches! At least toss aside the minutes and hours. Obviously we all realize that we are not everlasting. Our fear of death has inspired the creation of beautiful works of art. And this was a fine thing, too. However, our only eternal possession will be change."

"The "pneumatic" is the man in whom the sense of the sacred takes precedence over other tendencies, whereas in the case of the "psychic" it is the attraction of the world and the accentuation of the ego that take priority, without mentioning the "hylic" or "somatic", who sees in sensory pleasure an end in itself. It is not a particularly high degree of intelligence that constitutes initiatic qualification; it is a sense of the sacred − or the degree of this sense − with all the moral and intellectual consequences it implies. The sense of the sacred draws one away from the world and at the same time transfigures it."

"The sense of the sacred, or the love of sacred things − whether of symbols or modes of Divine Presence − is a conditio sine qua non of Knowledge, which engages not only our intelligence, but all the powers of our soul; for the Divine All demands the human all. The sense of the sacred, which is none other than the quasi-natural predisposition to the love of God and the sensitivity to theophanic manifestations or to celestial perfumes − this sense of the sacred essentially implies both the sense of beauty and the tendency toward virtue; beauty being as it were outward virtue, and virtue, inward beauty. It also implies the sense of the metaphysical transparency of phenomena, that is, the capacity of grasping the principial within the manifested, the uncreated within the created."

"Every injustice that we suffer at the hands of men is at the same time a trial that comes to us from God."