people-from-munich

"You have to win all your last games and then you should see where you stand at the end."

"The earlier you make that development, the better it will be in the future."

"Things won't always be harmonious - incidentally, they never have been. However, we must endeavour to achieve the greatest possible unity in the local church and the universal church, which is also the essence of the episcopal office. We must not give up the struggle for unity, despite all the disputes about factual issues and sensitivities that will always exist. We must not resign ourselves to falling out."

"When players like [Gareth] Bale and [Cristiano] Ronaldo are worth around €100 million, Johan [Cruyff] would go in the billions."

"To call the Veda 'scripture' is a concession to a Western understanding of religion. The Indian term is sruti, meaning 'that which has been perceived through hearing'. For thousands of years, perhaps, the Veda was only transmitted orally, and memorization was the only way to acquire its knowledge...."

"The dating of the Vedic age as well as the theory of an Aryan invasion of India has been shaken. We are required to completely reconsider not only certain aspects of Vedic India, but the entire relationship between Indus civilization and Vedic culture. . . . One of the most intriguing pieces of evidence is afforded by the dating of the disappearance of the River Saraswati. . . . Also, no evidence has been found of any large scale violent conflicts. . . . Astronomical evidence allow[s] us to set precise dates to certain passages in the Rgveda. . . . The certainty seems to be growing that the Indus civilization was carried out by the Vedic Indians. (34-38)"

"Ram Mohan Roy, Swami Vivekananda and Mahatma Gandhi all remained Hindus and tried to reform Hinduism from within. They appreciated some things which the West had done better than India and aimed to bring about a synthesis of Eastern and Western ideas.Their influence is still felt in India, although much criticism has been voiced against them as well."

"Hinduism has proven much more open than any other religion to new ideas, scientific thought, and social experimentation. Many concepts like reincarnation, meditation, yoga and others have found worldwide acceptance. It would not be surprising to find Hinduism the dominant religion of the twenty-first century. It would be a religion that doctrinally is less clear-cut than mainstream Christianity, politically less determined than Islam, ethically less heroic than Buddhism, but it would offer something to everybody. It will appear idealistic to those who look for idealism, pragmatic to the pragmatists, spiritual to the seekers, sensual to the here-and-now generation. Hinduism, by virtue of its lack of an ideology and its reliance on intuition, will appear to be more plausible than those religions whose doctrinal positions petrified a thousand years ago."

"This putative “Aryan invasion” was dated ca. 1500 bce, and the composition of the hymns of the Ṛgveda was fixed between 1400 and 1200 bce. The Aryan invasion theory was conceived on pure speculation on the basis of comparative philology, without any archaeological or literary evidence to support it. It was resisted as unfounded by some scholars from the very beginning. In the light of recent archaeological finds, it has become less and less tenable. Nevertheless, the Aryan invasion theory, recently downgraded to an Aryan migration theory, is still widely defended and forms part of many standard histories of Hinduism."

"Is there any more mysterious idea for an artist than the conception of how nature is mirrored in the eyes of an animal? How does a horse see the world, or an eagle, or a doe, or a dog?"

"Don't worry, I will come through, and I'm also fine as far as my health goes. I feel well and watch myself."

"The impure men and women who surrounded me (and particularly the men), did not arouse any of my real feelings; while the natural feeling for life possessed by animals set in vibration everything good in me. [from the front of World War 1.]."

"Their thinking has a different aim: To create out of their work symbols for their own time, symbols that belong on the altars of a future spiritual religion, symbols behind which the technical heritage cannot be seen. Scorn and stupidity will be like roses in their path."

"We are also convinced that we can already proclaim the first signs of the time. The first works of a new era are tremendously difficult to define. Who can see clearly what their aim is and what is to come; But just the fact that they do exist and appear in many places today, sometimes independently of each other, and that they possess inner truth, makes us certain that they are the first signs of the coming new epoch.. .The hour is unique. Is it too daring to call attention to the small, unique signs of the time?"

"In this time of the great struggle for a new art we fight like disorganized 'savages' against an old, established power. The battle seems to be unequal, but spiritual matters are never decided by numbers, only by the power of ideas. The dreaded weapons of the 'savages' are their new ideas. New ideas kill better than steel and destroy what was thought to be indestructible."

"What relation has a 'doe' to our picture of the world? Does it make any logical, or even artistic, sense, to paint the doe as it appears to our perspective vision, or in a cubistic form because we feel the world cubistically? It feels it as a doe, and its landscape must also be 'doe'.. .I can paint a picture: the roe; Pisanello has painted such. I can, however, also wish to paint a picture: 'the roe feels'. How infinitely sharper an intellect must the painter have, in order to paint this! The Egyptians have done it. The rose; Manet has painted that. Who has painted the flowering rose? The Indians.."

"The editors of the Blaue Reiter will now be the starting point for new exhibitions.. .We will try to become the center of the new movement. The association may assume there the role of the new (Scholle)."

"I make the most outrageous demands on my imagination and leave aside everything else, theory and nature study, as other people understand them. This is the only way I can work, drawing on nothing but my own faculty of imagination with I feed without stint – except in working hours."

"All the pictures [in the exhibition, 1910] include a plus-factor, which robs the public [in Munich] of her pleasure but which is in every case the principal merit of the work; the completely spiritualized, de-materialized awardness of perception, which our fathers, the artists of the nineteenth century, never even tried to achieve in their 'pictures'. This bold undertaking, to take the 'matiere', which Impressionism sank its teeth into, and spiritualize it, is a necessary reaction, which began with Gauguin in Pont-Aven, and has already fostered innumerable experiments.. .The way the Munich public condemns the exhibition is almost amusing."

"I walked [along impressionist paintings in the Paris' museums, 1907] like a roe-deer in an enchanted forest, for which it has always yearned."

"Dear August.. .I want to start like a child, to express my impression in front of nature with three colors and a few lines, and then add to forms and colors, where it requires the expression, that the working process is only a dedication, and never a removal. Only we painters know how stupidly difficult this is."

"I am sure of one thing: many silent readers and young people full of energy will secretly be grateful to us, will be fired by enthusiasm for this book [the Blaue Reiter Almanac ] and will judge the world in accordance with it."

"I can in no other way overcome my imperfections and the imperfections of life than by translating the meaning of my existence into the spiritual, into that which is independent of the mortal body, that is, the abstract."

"In war we are all equal, but among a thousand good men, a bullet hit an irreplaceable one.. .We painters know well that with the loss of his harmony [ of August Macke ], the color in German art will become many shades paler.."

"It is like a presentiment of the war, terrible and gripping; I can hardly realize that I painted it myself [remark on his painting 'The fate of Animals', he created in 1913]. In the hazy photograph, at any rate, it has an indefinable reality that quite made my flesh creep. It is artistically logical to paint such paintings 'before' a war, not as stupid reminiscences 'after' a war. [Marc was in 1915 soldier in World War 1.]. For one should paint constructive, prophetic pictures, not souvenirs, as is the usual fashion. And those are all I have in mind. It used to puzzle me sometimes, but now I know why it has to be like that. But these old pictures [his paintings, he made before the War] from the autumn Salon are sure to be resurrected again.."

"For days I have seen nothing but the most awful scenes that the human mind can imagine.. .Stay calm and don't worry: I will come back to you – the war will end this year. I must stop; the transport of the wounded, which will take this letter along, is leaving. Stay well and calm as I do. [from the battlefield at Verdun]"

"Who are these 'savages' in Germany? For the most part they are both well-known and widely disparaged: Die Brücke in Dresden, the 'Neue Sezession' in Berlin, and 'Die Neue Vereinigung' in Munich."

"It is impossible to explain the recent works of these 'savages' as a formal development and new interpretation of Impressionism.. .The most beautiful prismatic colors and the celebrated Cubism are now meaningless goals for these 'savages'."

"It can be sensed that there is a new religion arising in the country, still without a prophet, recognized by no one. Religions die slowly. But the artistic style that was the inalienable possession of an earlier era collapsed catastrophically in the middle of the nineteenth century [German Romanticism? ]. There has been no style since.. .Since then, serious art has been the work of individual artists whose art has had nothing to do with 'style' because they were not in the least connected with the style or the needs of the masses. Their works arose rather in defiance of their times. They are characteristic, fiery signs of a new era that increase daily everywhere. This book [The 'Almanak'], initiated by Franz Marc & Kandinsky ] will be their focus.."

"What appears spectral today will be natural tomorrow. Where are such signs and works? How do we recognize the genuine ones? Like everything genuine, its inner life guarantees its truth. All works of art created by truthful minds without regard for the work's conventional exterior remain genuine for all times.. .The present isolation of the rare, genuine artist is absolutely unavoidable for the moment.. .This fact leads us to the idea that we are standing today at the turning point of two long epochs, similar to the state of the world fifteen hundred years ago, when there was also a transitional period without art and religion - a period in which great and traditional ideas died and new and unexpected ones took their place."

"Art today is moving in directions of which our forebears had no inkling; the Horsemen of the Apocalypse are heard galloping through the air; artistic excitement can be felt all over Europe – new artists are signalling to one another from all sides; a glance, a touch of the hand, is enough to convey understanding. [co-authored with Wassily Kandinsky ]"

"I found time to ask [Franz Marc] about these [German Expressionist] artistic endeavors in Germany, the subject of an impassioned conflict for some time before the war. Because of my professional activity in America in the years preceding the war, I had almost no contact with German artists. Thus I had never seen any paintings by Marc or by his friend August Macke, whose death at the beginning of the war had deeply distressed Marc.. .I never had the opportunity to express to this master how deeply the spirit of his unique art moved me. What fantasy and, at the same time, what logical constructions could be discerned in Marc's creations - how consistent this development had been from his impressionist beginnings to the abstract compositions of his last years!"

"The laws of art are eternal and don't change at all, as the moral laws don't change in human beings."

"Both of us loved blue, Franz Marc horses.. .Hence the name 'Der Blaue Reiter' [The Blue Rider - also the title of the publication in the 'Munich Almanac', edited by Kandinsky and Franz Marc]"

"I have just been thinking that the Blaue Reiter (Blue Rider) does not really represent my work. I have always been convinced that other things of mine are more important.. .Narcism, fake heroism, and blindness have a lot to answer for, in the Blaue Reiter. All those high-sounding words about the birth of a great spiritual moment still resounding in my ears. Kandinsky can air his personal opinion about that or any other revolution he cares to mention. But I dislike the whole thing.. .Take my advice – work, and don't spent so much time thinking about blue riders or blue horses."

"The people itself ( and I do not mean the 'masses') has always given art its essential style. The artist merely clarifies and fullfils the will of the people. But when the people does not know what it wants, or worst of all, wants nothing.. ..then its artists, driven to seeking their own forms, remain isolated, and become martyrs.. .Folk art – that is, the feeling of people for artistic form – can arise again only when the whole jumble of worn-out art concepts of the nineteenth century has been wiped from the memory of generations."

"There is little abstract art, today, and what there is is stammering and imperfect. It is an attempt to let the world speak for itself, instead of reporting the speech of mind excited by their picture of the world. The Greek, The Gothic, and the Renaissance artist set forth the world the way he saw it, felt it, and wished to have it; man wished above all to be nourished by art; he achieved his desire but sacrificed everything else to this one aim: to construct homunculus, to substitute knowledge for strength and skill for spirit. The ape aped his creator. He learned to put art itself to the ends of trade.."

"How do Marc's views about the war [World War 1.] impact on our response to his art? Our appreciation of the Utopian underpinnings to [Franz] Marc's art – whether idealist representations of animals or premonitions of war – is heightened. We are made more aware of how Marc's art is linked in mood and content to European avantgarde art at this time, just as it is embedded in the tradition of German Romanticism."

"The day is not far distant on which Europeans – the few Europeans who will still remain – will suddenly become painfully aware of their lack of formal concepts. Then will these unhappy people bewail their wretched state and become seekers after form. They will not seek the new form in the past, in the outward world, or in the stylized appearances of nature, but they will build up their form from within themselves, in the light of their new knowledge that turned the old world fable into a world form, and the old world view into a world insight. [written at the front of World War 1. - near Verdun, 1915]"

"Only today can art be metaphysical, and it will continue to be so. Art will free itself from the needs and desires of men. We will no longer paint a forest or a horse as we please or as they seem to us, but as they really are."

"Art is nothing but the expression of our dream; the more we surrender to it the closer we get to the inner truth of things, our dream-life, the true life that scorns questions and does not see them."

"I am trying to intensify my feeling for the organic rhythm in all things, trying to establish a pantheistic contact with the tremor and flow of blood in nature, in animals, in the air – trying to make it all into a picture, with new movements and with colours that reduce our old easel paintings to absurdity."

"The harvest of your Summer [1910] is displayed on our walls. I like some of them terrifically. The 'certainty' with which most of it is done makes me feel ashamed of myself. The thousand steps that I need to take for a picture are of no advantage, as I sometimes foolishly used to think. Things must change."

"You know my tendency is always to imagine things in my head and to work from this idea. I am going to explain my theory of blue, yellow and red, which will probably seem as 'Spanish' to you as my face. Blue is the male principle, astringent and spiritual. Yellow is the female principle, gentle, gay and spiritual. Red is matter, brutal and heavy and always the color to be opposed and overcome by the other two. For example, if you mix serious, spiritual blue with red, you intensify the blue to unbearable sorrow, and yellow the conciliatory, the complementary color to purple, becomes indispensable.. .If you mix red and yellow to make orange, you turn passive, feminine yellow into a Fury, with sensual force that again makes cool, spiritual blue indispensable, the man.."

"In a letter to August Macke, from Sindelsdorf 12 April 1911; taken from [http://www.zeno.org/Kunst/M/Marc,+Franz/Briefe/Briefe+1897-1914/55.+Brief+an+August+Macke, (transl. F. Heijnsbroek)"

"A musical event in Münich has brought me a great dolt.. ..an evening of chamber-music by Arnold Schoenberg (Vienna).. ..the audience behaved loutishly, like school brats, sneezing and clearing their throats, when not tittering and scraping their chairs, so it was hard to follow the music. Can you imagine a music in which tonality (that is, the adherence to any key) is completely suspended? I was constantly reminded of Kandinsky's large composition which also permits no trace of tonality.. ..and also of Kandinsky's 'jumping spots' in hearing this music [of Schoenberg], which allows each tone sounded to stand on its own (a kind of white canvas between the spots of color). Schönberg proceeds from the principle that the concepts of consonance and dissonance do not exist at all. A so-called dissonance is only a mere remote consonance – an idea which now occupies me constantly while painting.."

"It is impossible to explain the latest works of these wild men | that is, the artists of Der Blaue Reiter, and Die Brücke, [working in Munich, and Berlin] in terms of a formal evolution and a reinterpretation of Impressionism. The loveliest prismatic colors and the famous Cubist style have become meaningless in terms of the objectives of the iconoclasts. Their thinking has a different aim: with their labor, they want to create symbols for their era. symbols that belong on the altars of the coming spiritual religions behind which the technical producer will vanish."

"I cannot get over the strange conflict between my estimation of their ideas [the artists of Italian Futurism ] most of which I find brilliant and fruitful, and my view of the [their] pictures [he saw on the Walden exhibition in Berlin, Spring 2012], which strike me as, without a doubt, utterly mediocre."

"There is something impressive and mystical about the artillery battles.. .I still do not think differently about the war.. .It simply seems to me feeble and lifeless to consider it vulgar and dumb. I dream of a new Europe, I.. ..see in this war the healing, if also gruesome, path to our goals; it will purify Europe, and make it ready… Europe is doing the same things to her body France did to hers during the Revolution.. ..the war is not turning me into a realist – on the contrary: I feel so strongly the meaning which hovers behind the battles, behind every bullet, so that the realism, the materialism disappears completely. Battles, wounds, motions, all appear so mystical, unreal.."

"We refer with pleasure and with steadfastness to the case of El Greco, because the glory of this painter is closely tied to the evolution of our new perceptions on art."