“What we demand from the Soviet architect is that, as an artist and because of his perceptive intellect, he will fully comprehend and amplify the faintest ripple of developing energies much sooner than the masses — who tend to be shortsighted as far as their own growth is concerned — and that he will transform this energy into tangible architectural form... The club's role is to become a University of Culture. If one accepts the premise that private dwellings should strive to operate on the basis of the greatest possible austerity, then by contrast, public dwellings should provide the maximum of available luxury accessible to all. The term 'reconstruction' is therefore not applicable to this case, since there is no building precedent in the past.”

Nobel Prize acceptance speech (1969) http://www.nobelprize.org/nobel_prizes/medicine/laureates/1969/delbruck-lecture.html

to Werner Drewes, 10 April 1933; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html
both were closely connected with the Bauhaus, closed by the Nazi-regime in 1933
1930 - 1944

Vague Thoughts On Art (1911)
Context: He is but a poor philosopher who holds a view so narrow as to exclude forms not to his personal taste. No realist can love romantic Art so much as he loves his own, but when that Art fulfils the laws of its peculiar being, if he would be no blind partisan, he must admit it. The romanticist will never be amused by realism, but let him not for that reason be so parochial as to think that realism, when it achieves vitality, is not Art. For what is Art but the perfected expression of self in contact with the world; and whether that self be of enlightening, or of fairy-telling temperament, is of no moment whatsoever. The tossing of abuse from realist to romanticist and back is but the sword-play of two one-eyed men with their blind side turned toward each other. Shall not each attempt be judged on its own merits? If found not shoddy, faked, or forced, but true to itself, true to its conceiving mood, and fair-proportioned part to whole; so that it lives — then, realistic or romantic, in the name of Fairness let it pass! Of all kinds of human energy, Art is surely the most free, the least parochial; and demands of us an essential tolerance of all its forms. Shall we waste breath and ink in condemnation of artists, because their temperaments are not our own?

Artie Shaw on his collaboration with Astaire in Second Chorus (1940) as interviewed in Fantle, Dave and Johnson, Tom. Reel to Real. Badger Books LLC, 2004, p. 304. ISBN 1932542043.

Quote from: 'Basic Premises'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)

Buckingham and Ross 1892, p. 663
His Character

Source: The Agony and the Ecstasy

1940 - 1948, Intimate Banalities' (1941)

Psychedelic Society (1984)
Context: The psychedelics are a red-hot social issue, ethical issue, whatever the term for it is, and it is precisely because they are a deconditioning agents: they will cast doubt in you if you are a Hasidic rabbi, a Marxist anthropologist, or an altar boy, because their business is to dissolve belief systems, and they do this very well and then they leave you with the raw datum of experience, what William James called in infants 'the blooming, buzzing experience.' And out of that you reconstruct the world, and you need to understand that it is a dialog where your decisions, the projection of your grammar onto the intellectual space in front of you, is going to gel into the mode of being. We actually create our own universe because we are all operating with our own private languages.