“The individual representation of the object, treated sympathetically or anti-pathetically, is highly necessary and is an enrichment to the world in form. The elimination of the human relationship causes the vacuum which makes all of us suffer in various degrees – an individual alteration of the details of the object represented is necessary in order to display on the canvas the whole physicals reality.”

— Max Beckmann

Source: 1930s, On my Painting (1938), pp. 17-18

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Max Beckmann 52

German painter, draftsman, printmaker, sculptor and writer 1884–1950

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“Physical objects cannot exist unless they exist in a definite perspective and space continuum. But each individual creates his own space continuum... I want to tie this in with the differences you seem to see in one particular object. Each individual actually creates an entirely different object, which his physical senses then perceive.”

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“Everything is both a trap and a display; the secret reality of the object is what the Other makes of it.”

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“A social world [is] a comprehensive and given reality confronting the individual in a manner analogous to the reality of the natural world… In early phases of socialization the child is quite incapable of distinguishing between the objectivity of natural phenomena and the objectivity of the social formations… The objective reality of institutions is not diminished if the individual does not understand their purpose or their mode of operation…He must ‘go out’ and learn about them, just as he must learn about nature.”

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“It is my intention to represent the world of Shakespeare as far as possible as it really is and not merely to tell the story. It is my effort to retain the names used by him, the atmosphere he created, his descriptions…on the whole. His representation of the world as it is. I believe that this is necessary for the enhancement of Kannada literature and the sensibilities of the Kannada people and for the broadening of their vision of the world. If human civilization and peace are to last, it is of foremost importance that the different races of the earth attain a world vision. In order to achieve this the people of the West should read our epics, the Ramayana and the Mahabharata sympathetically as we must acquaint ourselves with their poetic tradition.”

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“Men, unacquainted with Vedanta, do not see that all things and all individual selves have Brahman as their self. They think that all terms exhaust their significance by signifying the various objects by themselves, which objects are in reality a part and not the whole of the meaning of terms. Now by the study of Vedanta, they understand that all such objects are the effects of Brahman, that Brahman is the inner ruler of them all and that they are animated by Brahman as their very soul. Therefore they come to understand that all terms signify Brahman itself having as its modes the entities, to which latter alone the terms are applied in common usage.”

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Context: It is not enough to teach a man a specialty. Through it he may become a kind of useful machine but not a harmoniously developed personality. It is essential that the student acquire an understanding of and a lively feeling for values. He must acquire a vivid sense of the beautiful and of the morally good. Otherwise he—with his specialized knowledge—more closely resembles a well-trained dog than a harmoniously developed person. He must learn to understand the motives of human beings, their illusions, and their sufferings in order to acquire a proper relationship to individual fellow-men and to the community. These precious things are conveyed to the younger generation through personal contact with those who teach, not—or at least not in the main—through textbooks. It is this that primarily constitutes and preserves culture. This is what I have in mind when I recommend the "humanities" as important, not just dry specialized knowledge in the fields of history and philosophy.

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“Colour, as the strange and magnificent expression of the inscrutable spectrum of Eternity, is beautiful and important to me as a painter; I use it to enrich the canvas and to probe more deeply into the object. Colour also decided, to a certain extent, my spiritual outlook, but it is subordinated to life, and above all, to the treatment of form. Too much emphasis on colour at the expense of form and space would make a double manifestation of itself on the canvas, and this would verge on craft work.”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

Source: 1930s, On my Painting (1938), pp. 18-19

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