“It was the desire for living, vital expression.... which built Gothic cathedrals, which created Mozart sonatas. I believe it is going to stay that way for long time to come.”
In 'The New Program' (1914) - first appeared in Das neue Program, Kunst und Künstler 12. (March 1914)
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August Macke 8
German painter of the expressionist group Der Blaue Reiter 1887–1914Related quotes
As quoted in: Richtingen in de hedendaagsche schilderkunst (Trends in the Present Day Art of Painting), Jacob Bendien - W.L. & J Brusse, Rotterdam,1936, p. 100 (transl. Anne Porcelijn)
1910 - 1920
“Am I living in a way which is deeply satisfying to me, and which truly expresses me?”
Letter to H.P. Bremmer, 17-11-1930, City Archive The Hague, as quoted in: Bram van Velde, A Tribute, Municipal Museum De Lakenhal Leiden, Municipal Museum Schiedam, Museum de Wieger, Deurne 1994, p. 50 (English translation: Charlotte Burgmans)
1930's
Französische Bühne (The French Stage), ch. 9 (1837)
Original: (de) Die Menschen in jener alten Zeit hatten Überzeugungen, wir Neueren haben nur Meinungen, und es gehört etwas mehr als eine bloße Meinung dazu, um so einen gotischen Dom aufzurichten.
Also quoted in "Conversations with Samuel Beckett and Bram van Velde by Charles Juliet" by Nicholas Lezard, in The Guardian (23 January 2010) http://www.theguardian.com/books/2010/jan/23/conversations-samuel-beckett-van-velde
Three Dialogues (1949)
From Critique of Everyday Life: Volume 1 (1947/1991)
Context: Everything great and splendid is founded on power and wealth. They are the basis of beauty. This is why the rebel and the anarchic protester who decries all of history and all the works of past centuries because he sees in them only the skills and the threat of domination is making a mistake. He sees alienated forms, but not the greatness within. The rebel can only see to the end of his own ‘private’ consciousness, which he levels against everything human, confusing the oppressors with the oppressed masses, who were nevertheless the basis and the meaning of history and past works. Castles, palaces, cathedrals, fortresses, all speak in their various ways of the greatness and the strength of the people who built them and against whom they were built. This real greatness shines through the fake grandeur of rulers and endows these buildings with a lasting ‘beauty’. The bourgeoisie is alone in having given its buildings a single, over-obvious meaning, impoverished, deprived of reality: that meaning is abstract wealth and brutal domination; that is why it has succeeded in producing perfect ugliness and perfect vulgarity. The man who denigrates the past, and who nearly always denigrates the present and the future as well, cannot understand this dialectic of art, this dual character of works and of history. He does not even sense it. Protesting against bourgeois stupidity and oppression, the anarchic individualist is enclosed in ‘private’ consciousness, itself a product of the bourgeois era, and no longer understands human power and the community upon which that power is founded. The historical forms of this community, from the village to the nation, escape him. He is, and only wants to be, a human atom (in the scientifically archaic sense of the word, where ‘atom’ meant the lowest isolatable reality). By following alienation to its very extremes he is merely playing into the hands of the bourgeoisie. Embryonic and unconscious, this kind of anarchism is very widespread. There is a kind of revolt, a kind of criticism of life, that implies and results in the acceptance of this life as the only one possible. As a direct consequence this attitude precludes any understanding of what is humanly possible.
Source: The Thirst for Annihilation: Georges Bataille and Virulent Nihilism (1992), Chapter 7: "Fanged noumenon (passion of the cyclone)", p. 79
“I believe one writes because one has to create a world in which one can live.”
February 1954 The Diary of Anaïs Nin Vol. 5 (1947-1955), as quoted in Woman as Writer (1978) by Jeannette L. Webber and Joan Grumman, p. 38
Diary entries (1914 - 1974)
Context: Why one writes is a question I can answer easily, having so often asked it of myself. I believe one writes because one has to create a world in which one can live. I could not live in any of the worlds offered to me — the world of my parents, the world of war, the world of politics. I had to create a world of my own, like a climate, a country, an atmosphere in which I could breathe, reign, and recreate myself when destroyed by living. That, I believe, is the reason for every work of art.
