“As the misfortune befell in November [1918], I threw myself into the woodcut... It is a technique that provokes one to confession, to the unmistakable statement of what one finally means. It, or far more she, enforces a certain general validity of expression... I have finished a number of large woodcuts that deal with all of the distress of the times.”

— Ernst Barlach

Barlach in a letter to his cousin, 1919; in Erhard Gopel, Deutsche Holzschnitte des zwanzigsten Jahr- hunderts, Wiesbaden: Insel Verlag, 1955, p. 44; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 46
Barlach explained why the woodcut spoke so poignantly to the current times

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Ernst Barlach 1

German expressionist sculptor, printmaker and writer 1870–1938

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“I finished my first woodcut in Dresden in 1905 after the Xylographic art, cutting out of the hard boxwood the clean sketches with the slate pencil. Then followed the rounded iron, to arrive at the woodcut more freely through the simply ripped out sketch on the log (alder, lime tree, poplar), which would be utilized from here on out. Then finally came a short cobbler knife, and without a pré-sketch, the hand cuts freely into the wood a woodcut, just like it would work on paper with the pen.”

Erich Heckel (1883–1970) German artist

Heckel later summarized in this way his woodcut developments, mainly developed during his years in Die Brücke
Source: Brücke' Zeichnungen, Aquarelle, Druckgraphik, Magdalena M. Moeller; Verlag Gerd Hatje, Stuttgart 1992, p. 21; as quoted by Louise Albiez https://www.researchgate.net/publication/272168564Claire (incl. translation), Brücke und Berlin: 100 Jahre Expressionismus; submitted to the Division of Humanities New College of Florida, Sarasota, Florida, May, 2013 p.12

“The woodcut is the most graphic of the printmaking techniques. Its practice demands much technical ability and interest. Kirchner's technical skill made woodcutting easy for him. Thus he came in a spontaneous way through the simplification necessary here to a clear style of representation. We see in his woodcuts, which constantly accompanied his creative work, the formal language of the paintings prefigured.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

de:Louis de Marsalle (pseudonym of Kirchner) Uber Kirchners Graphik, Genius 3, no. 2 (1921), p. 252-53; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 52
1920's

“The illustrations were woodcuts, executed with that crude haste to see the finished product that marks the amateur. True pornography is given us by vastly patient professionals.”

Thomas Pynchon book The Crying of Lot 49

The Crying of Lot 49 (1966)

“It remains to mention some of the ways in which people have spoken misleadingly of logical form. One of the commonest of these is to talk of ' the logical form' of a statement; as if a statement could never have more than one kind of formal power; as if statements could, in respect of their formal powers, be grouped in mutually exclusive classes, like animals at a zoo in respect of their species. But to say that a statement is of some one logical form is simply to point to a certain general class of, e. g., valid inferences, in which the statement can play a certain role. It is not to exclude the possibility of there being other general classes of valid inferences in which the statement can play a certain role.”

P. F. Strawson (1919–2006) British philosopher

Source: Introduction to Logical Theory (1952), p. 53 as cited in: Ian Hacking (1975) Why Does Language Matter to Philosophy?, p. 83.

“What is a Gallagher Girl?" Liz asked one final time. "She's a genius, a scientist, a heroine, a spy. And now we are at the end of our time at school, and the one thing I know for certain is this: a Gallagher Girl is”

Ally Carter (1974) American writer

Source: United We Spy

“I confess that I am no longer thinking in musical terms, or at least not much, even though I believe with all my heart that Music remains for all time the finest means of expression we have.”

Claude Debussy (1862–1918) French composer

Letter to Paul Dukas (1901)
Context: I confess that I am no longer thinking in musical terms, or at least not much, even though I believe with all my heart that Music remains for all time the finest means of expression we have. It’s just that I find the actual pieces — whether they’re old or modern, which is in any case merely a matter of dates — so totally poverty-stricken, manifesting an inability to see beyond the work-table. They smell of the lamp, not of the sun. And then, overshadowing everything, there’s the desire to amaze one’s colleagues with arresting harmonies, quite unnecessary for the most part. In short, these days especially, music is devoid of emotional impact. I feel that, without descending to the level of the gossip column or the novel, it should be possible to solve the problem somehow. There’s no need either for music to make people think! … It would be enough if music could make people listen, despite themselves and despite their petty mundane troubles, and never mind if they’re incapable of expressing anything resembling an opinion. It would be enough if they could no longer recognize their own grey, dull faces, if they felt that for a moment they had been dreaming of an imaginary country, that’s to say, one that can’t be found on the map.

“As a means of expression, painting must deliver universally valid statements, make allegorical reflections on life, and create new mythologies.”

Stefan Szczesny (1951) German painter and sculptor

Mustique (2002)

“I don't have a technique. I've never been a believer in having one set technique on how to act. There are no rules and there is no rulebook. At the end of the day, it all comes down to my instincts. That's the one thing that guides me through every decision professionally. Socially, also. That's my technique. Yeah, you read through the script 100 times. I guess I have little characteristics about myself. Sometimes, most often than not, once we start shooting I won't look at the script at all until we finished shooting. It's kind of like it's been imprinted in my head during rehearsals. You just let it go.”

Heath Ledger (1979–2008) Australian actor

As quoted by Reel.com (May 2001).

“I think to be an artist it means a certain sensitivity, because I believe in evolution. I believe the more sensitive you are the more you draw from this One Mind; which is part of the whole, part of everything. I think we all have that ability to be tuned in, but I think great artists are just more tuned in. One who's expressing God to the fullest, that's an artist.”

Peggy Moran (1918–2002) actress

Interview with Monster Kid Magazine

“Painting has a nature which is not entirely translatable into verbal language. I think painting is a language, actually. It's linguistic in a sense, but not in a verbal sense. I think that one wants from painting a sense of life. And I think that is true. One wants to be able to use all of one’s facilities in all aspects of one’s life... You may have to choose how to respond and you may respond in a limited way, but you have been aware that you are alive. The final suggestion, the final statement, has to be not a deliberate statement but a helpless statement.”

Jasper Johns (1930) American artist

interview with Johns conducted in 1975 at Johns’ studio by Yoshiaki Tono, as quoted in Jasper Johns, Writings, sketchbook Notes, Interviews, ed. Kirk Varnedoe, Moma New York, 1996, p. 89
1970s

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