“[Their] things [works of Die Brücke-artists] must be exhibited. But I think it is incorrect to immortalize them in the document [Almanac] of our modern art (and, this is what our book ought to be) or as a more or less decisive, leading factor. At any rate I am against large reproductions”

— Wassily Kandinsky

of Die Brücke paintings in The Blaue Reiter Almanac
Quote from his letter to Franz Marc, 2 Febr. 1912, as cited in 'Lankheit 20'; quoted in Movement, Manifesto, Melee: The Modernist Group, 1910-1914, Milton A. Cohen, Lexington Books, Sep 14, 2004, p. 71
1910 - 1915

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Wassily Kandinsky68

Russian painter 1866–1944

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“We [the artists of Die Brücke ] were overjoyed to discover our complete unison in the urge for liberation, for an art surging forward, unrestricted by convention.”

Max Pechstein (1881–1955) German artist

from a note of Pechstein; as quoted in Expressionism, a German Intuition, 1905-1920, [exhibition-catalogue 1980-81]; Paul Vogt, Horts Keller, Martin Urban, Wolf-Dieter Dube, and Eberhard Roters; Solomon R. Guggenheim Foundation, 1980, p. 5

“Well, we will indeed see how things develop and what will become of our art! In any case, artists should remain apolitical and only think of their work and dedicate all their energies to this work.”

Wassily Kandinsky (1866–1944) Russian painter

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 <br class="br">both were closely connected with the Bauhaus, closed by the Nazi-regime in 1933 <br class="br">1930 - 1944

“In 1935 I was appointed leading artist of the All-Soviet Agricultural Exhibition. I opposed the errors of the first leader, and resigned. Afterwards, while I was still in the sanatorium, I took over the design of the main building. The design of the main hall has been done according to my idea until now. From 1931 on, I was leading artist-architect of the 'Permanent Building Exhibition'. But as the years went by, my health deteriorating, I had less and less energy left for this type of commission, such as the realization of large-scale exhibitions. I still succeeded in designing the project for the museum-exhibition of the Ministry of 'Social Security'.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1926 - 1941, Autobiography of the artist' (1941)

“[that all differences among the former Brücke members should be put in the past and that].. every individual conflict must be silenced and that everyone join together in the name of the whole, that is for our modern German art.”

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

In a letter to Hans Fehr, 1937; as quoted in Brücke und Berlin: 100 Jahre Expressionismus, Anita Beloubek-Hammer, ed.; Berlin: Nicolaische Verlagsbuchhandlung, Berlin 2005, p. 338 (transl. (transl. Claire Albiez)
When die Brücke was shown at the infamous 'Degenerate Art' show in Munich by the Nazi's in 1937, Kirchner wrote this to Hans Fehr
1930's

“Whether or not the soul is immortal is a fact in nature and cannot be changed by any book whatever. If I am immortal, I am. If am not, no book can render me so. It is no more wonderful that I should live again than that I do live.”

Robert G. Ingersoll (1833–1899) Union United States Army officer

My Reviewers Reviewed (lecture from June 27, 1877, San Francisco, CA)

“[the way of life of Die Brücke artists] though strange to the ordinary man, was not meant to shock, it was a pure and simple compulsion to integrate art and life..”

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

Quote in Expressionism, a German Intuition, 1905-1920: [Exhibition 1980-81]; Paul Vogt, Horts Keller, Martin Urban, Wolf-Dieter Dube, and Eberhard Roters; Solomon R. Guggenheim Foundation, 1980, p. 7
undated

“There ought to be but one large art warehouse in the world, to which the artist could carry his art-works, and from which he could carry away whatever he needed. As it is, one must be half a tradesman.”

Ludwig Van Beethoven (1770–1827) German Romantic composer

Conversations (January 1801)

“As I have said many times, for me an artist is a person who says he's an artist, and an artwork is what an artist says is an artwork. Although for myself, I am not interested in ideas as the burden of art.... the important thing about art is how it stimulates us. I think the more you are stimulated by more different kinds of art, the more demanding you're going to become on the level of your stimulation. The key to art is experience of it and proximity to it.”

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, p. 14

“I think we ought to have more oil. We ought to develop more sources of oil so that we can increase our supply. But the last thing I want to do is suck it all dry as quickly as we can. I want to use less of it.”

Mitt Romney (1947) American businessman and politician

Interview on Hardball with Chris Matthews, December 2005.
2003–2007 Governor of Massachusetts

“To get straight to the point, the local group of artist called Die Brücke would reckon it a high honour to be able to welcome you as a member. Of course you will know as little about Die Brücke as we knew about you before your ehibition at [Arnold’s [gallery Arnold at Dresden. Now, one of the aims of Die Brücke is to attract all the revolutionary and fermenting elements to itself – that’s the menaing of the name Brücke. The gruop also arranges several exhibitions a year, which it sends on tour in Germany... Now, dear Herr Nolde, think as you like and what you like, we hope this offer is the proper price for your tempests od colour.”

Karl Schmidt-Rottluff (1884–1976) German artist

In a letter of Schmidt-Rottluff from Dresden, 1906 to Emil Nolde; as quoted in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 32
Schmidt-Rottluff was one of the founders of Die Brücke and invited Emil Nolde to participate, and emphasized the group's spirit of experimentation which they recognized in Nolde's painting art

“[Their] things [works of Die Brücke-artists] must be exhibited. But I think it is incorrect to immortalize them in the document [Almanac] of our modern art (and, this is what our book ought to be) or as a more or less decisive, leading factor. At any rate I am against large reproductions”

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Wassily Kandinsky68

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