“Just as soon as the great and glorious Revolution broke out [1918 - after World War 1. ] I gave notice and now live entirely for art. For a while, I tried to create new forms of art from the remains of the old culture. From this Merz painting emerged, painting that happily used every material – Pelikan [was a famous ink mark, then] colors or the rubbish from the rubbish heap. So I experienced the Revolution in the most delightful way and pass for a Dadaist, without being one. As a result, I could introduce Dadaism in Holland [together with Theo van Doesburg and his wife Nele] with complete impartiality. In Holland I became familiar with architecture for the first time.”

— Kurt Schwitters

In his 'Autobiography of Kurt Schwitters' (6 June 1926), sent to Hans Hilderbrandt; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 92.
1920s

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Kurt Schwitters 32

German artist 1887–1948

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“Merz paintings are abstract works of art. The word 'Merz' essentially means the totality of all imaginable materials that can be used for artistic purposes and technically the principle that all of these individual materials have equal value. Merz art makes use not just of paint and canvas, brush and palette, but all the materials visible to the eye and all tools needed.... the wheel off a pram, wire mesh, string and cotton balls – these are factors of equal value to paints. The artist creates by choosing, distributing and reshaping the materials.”

Kurt Schwitters (1887–1948) German artist

1910s
Source: 'Merz Painting' (1919); as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 91.

“It is from the graves and ruins and rubbish-heaps of Egypt that writings have been restored to us in great numbers.”

Frederic G. Kenyon (1863–1952) British palaeographer and biblical and classical scholar

Source: The Story Of The Bible, Chapter III, How The Books Of The New Testament Were Written, p. 21

“Once again I talked with some painters, but the modern artists [in The Netherlands ] write more than they paint. If you write about art in such a way and you want to paint always with a fixed plan, then you will lose completely the deep, glorious and spontaneous art. You always have to create the new from the very deep, inside.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:) Ich habe wieder einige Maler gesprochen, aber die Modernen [in Nederland] schreiben mehr als sie malen. Wenn man so über Kunst schreibt und immer so mit einem festen Plan malen will, dan verliert man ganz und gar die tiefe, herrliche, spontane Kunst. Man muss so ganz tief heraus immer Neuses schaffen.
in a letter to Herwarth Walden, 23 July 1915; the 'Sturm'-Archive, Berlin
very probably Jacoba is refering here to the Dutch Stijl-artists, as Piet Mondrian and Theo v. Doesburg
1910's

“I feel an inner relationship which leads from the antique tot the Gothic, especially from the early ancient art, and from the Gothic to my own feeling for form. A great simplicity of form is something marvelous. As far back as I can remember, I have tried to put the simplicity of nature into the heads that I was painting or drawing. Now I have a real sense of being able to learn from the heads of ancient sculpture..”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 198
1899

“Color is one of the great things in the world that makes life worth living to me and as I have come to think of painting it is my effort to create an equivalent with paint color for the world – life as I see it.”

Georgia O'Keeffe (1887–1986) American artist

1930s

“.. that distinguished aesthete [ Gustave Moreau, ] famous artist and art teacher in Paris, then] who paints nothing than rubbish, it is because his dreams are suggested not by the inspiration of Nature, but by what he has seen in the museums... I should like to have that good man under my wing, to point out to him the doctrine of a development of art by contact with Nature. It's so sane, so comforting, the only just conception of art.”

Paul Cézanne (1839–1906) French painter

Quote in a conversation with Vollard, in the studio of Cézanne, in Aix, 1896; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 66
Quotes of Paul Cezanne, 1880s - 1890s

“This Spring of 1911 Marianne von Werefkin [his former study-mate in Russia and in fact his life-comapnion for many years, but never married] Andrei, Helene and I went to Prerow on the Baltic [coast]. For me that summer meant a great step forward in my art. I painted my finest landscapes there as well as large figure paintings in powerful, glowing colours and not at all naturalistic or objective. I used a great deal of red, blue, orange, cadmium yellow and chromium-oxide green. My forms were very strongly contoured in Prussian blue, and came with tremendous power from an inner ecstasy. 'Der Buckel', 'Violetter Turban', 'Selbstporträt'.... were created in this way. It was a turning-point in my art. It was in these years, up to 1914, just before the war [World War 1. ], that I painted my most powerful works, referred to as the pré-war works.”

Alexej von Jawlensky (1864–1941) Russian painter

Quote c. 1911; in 'Lebenserinnerungen', 1938; as cited in Alexej von Jawlensky, Museum Boymans-van-Beuningen, Rotterdam; exhibition catalog 25/9 – 27/11-1994 (a. o. his life quotes from ['Life Memories'] he dictated late in his life, in 1938)
1900 - 1935

“Today every child knows what Merz is. But what is 'i'? I is the middle vowel of the alphabet and the designation for the consequence of Merz in relation to an intensive apprehension of the art form. For the shaping of the work of art Merz uses large ready-made complexes that count as material, to shorten as much as possible the path leading from the intuition to the actualization (Sichtbarmachung) of the artistic idea, so as to avoid heat loss through friction. i defines this path as o (i setzt diesen Weg = null). Idea, material, and work of art are the same. i apprehends the work of art in nature. Here the artistic shaping is the recognition of rhythm and expression in a part of nature. Thus, no loss through friction i. e., no disturbing distraction during creation occurs here.”

Kurt Schwitters (1887–1948) German artist

1920s
Source: the article 'i ein Manifest' (or 'i-manifest'), Kurt Schwitters, in Merz 2. 1923; as quoted in Kurt Schwitters Merzbau: The Cathedral of Erotic Misery, by Elizabeth Burns Gamard, Princeton Architectural Press, New York, 2000, p. 116

“I transformed myself in the zero of form and emerged from nothing to creation, that is, to Suprematism, to the new realism in painting – to non-objective creation.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote of Malevich, November 1916, in: 'From Cubism and Futurism to Suprematism: The New Realism in Painting'
1910 - 1920

“I was remarking that we are passing through one of the greatest revolutions in the annals of the world. Seven States have within the last three months thrown off an old government and formed a new. This revolution has been signally marked, up to this time, by the fact of its having been accomplished without the loss of a single drop of blood.”

Alexander H. Stephens (1812–1883) Vice President of the Confederate States (in office from 1861 to 1865)

The Cornerstone Speech (1861)

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