“Often, very often, I am alone. My studio in Amsterdam, [Beckmann lived and worked in the heart of Amsterdam during World War 2. ] an enormous old tobacco storeroom is again filled in my imagination with figures from the old days and from the new, like an ocean moved by storm and sun and always present in my thoughts. Then shapes become beings and seem comprehensible to me in the great void and uncertainty of the space which I call god.”

— Max Beckmann

1930s, On my Painting (1938)

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Max Beckmann 52

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

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“I am working here [Amsterdam] on my last big triptych, which will be a tremendous story, and which gives me a more intense life and exhilaration. My God, life is worth living!”

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

In a letter to Stephan Lackner, Amsterdam, 1939; as quoted in Max Beckmann, Stephan Lackner, Bonfini Press Corporation, Naefels, Switzerland, 1983, p. 5
1930s

“I now have an abundance of models. Every woman I address on the street understands me pretty well. I never experienced anything like that, otherwise they always called me names. It is horrible that I don't have anyone [in Amsterdam] like you, because the only good I have heard about my works came from you. So visit me often.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

translation from the original Dutch, Fons Heijnsbroek
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Ik heb tegenwoordig een zee van modellen. Iedere vrouw die ik op straat aanspreek, vat het nogal goed op. Ik heb nog nooit zoo iets bijgewoond, anders schelden ze me altijd uit ‘t is toch naar dat ik niemand heb, eigenlijk zooals jij, want het enige goed dat ik gehoord heb, over mijn werken is van jou geweest. Kom dus maar dikwijls over.
quote of Breitner in a letter to his friend Herman van der Weele, Amsterdam, 14 June 1893, original text in RKD-Archive, The Hague https://rkd.nl/explore/excerpts/54
1890 - 1900

“Built to be lonely
to love the absent.
Find me
Free me
from this
corrosive doubt
futile despair
horror in repose.
I can fill my space
fill my time
but nothing can fill this void in my heart.”

Sarah Kane book 4.48 Psychosis

Source: 4.48 Psychosis

“Now, a new creature, I in Christ am born,
The old man stripped away; -- I am new-made;
And mounting in me, like the sun at morn,
Love breaks my heart, even as a broken blade:
Christ, First and Only Fair, from me hath shorn
My will, my wits, and all that in me stayed,
I in His arms am laid,
I cry and call --
O Thou my All,
O let me die of Love!”

Jacopone da Todi (1236–1306) Italian Franciscan mystic

From All Saints: Daily Reflections on Saints, Prophets, and Witnesses for Our Time, As air becomes the medium for light when the sun rises, and as wax melts from the heat of fire, so the soul drawn to that light is resplendent, feels self melt awayby Robert Ellsberg

“A mouse lived in a windmill in Old Amsterdam”

Myles Rudge (1926–2007) English songwriter and scriptwriter

Song A Windmill in Old Amsterdam

“I am often worried at the thought that my life is based to such a large extent on the work of my fellow human beings and I am aware of my great indebtedness to them.”

Albert Einstein (1879–1955) German-born physicist and founder of the theory of relativity

1930s, My Credo (1932)
Context: Our situation on this earth seems strange. Every one of us appears here involuntarily and uninvited for a short stay, without knowing the whys and the wherefore. In our daily lives we only feel that man is here for the sake of others, for those whom we love and for many other beings whose fate is connected with our own. I am often worried at the thought that my life is based to such a large extent on the work of my fellow human beings and I am aware of my great indebtedness to them.

“My work is in a complete transformation. Lately, in my studio in Amsterdam, 'beings' re-emerge more and more, but I have repainted all the canvases that I have brought with me [from Amsterdam to Paris]. It is matter itself. On the canvas, no discovery, no personal drama, no submission to a rhythm.... freed from 'Victory Boogiewoogie' [title of the last work of Piet Mondrian, 1944], bepop, bepop, we free ourselves from rhythm, we are not there yet, but it is coming... Now I paint stains, bigger stains, colours endlessly reapplied one upon the other, I scrape and I put down new stains of colour unto nothing remains but one great plane, concentrated and linked at the same time, suddenly a vivid red or yellow and the canvas and being merge.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Quote in a letter of Karel Appel from Paris to Aldo van Eyck, October 1950; as quoted in (MR1-85); Karel Appel, a gesture of colour, Jean-François Lyotard, (original French text of 1992 based upon intensive correspondence with Karel Appel), Christine Buci-Glucksmann, Herman Parret; University Press, Leuven, Belgium, 2009, p. 99

“The people on my island, they put my name as Mau ["strong"] because when I was young I no like stay long time on the land. When I come from the ocean, two or three days, then I go back again. Even when the storm is come, I still stay out on the ocean. That's why my people they call me Mau.”

Mau Piailug (1932–2010) Micronesian navigator from the Carolinian island of Satawal and a teacher of traditional, non-instrument wa…

From Ferrar, Derek (March 2006). "Papa Mau's Legacy". Ka Wai Ola o OHA. 23 (3):12.

“Here am I, the often sat on
Dancing don; my name is T-TT-N;
Like old wine in a new bottle
Is my talk on Aristotle.”

Henry Charles Beeching (1859–1919) English clergyman, author and poet

The Masque of Balliol http://rpo.library.utoronto.ca/poem/2735.html (1880)

“At first, I thought I had found in this second figure [a bronze Orpheus, Zadkine made shortly after his return from New York to Paris, in 1944] the perfect solution, but a surprise awaited me. One day my coal merchant delivered to me, here in my studio, some wood for heating; among these logs I found a rudimentary but completely mysterious wooden figure of a man. He seemed to be walking in great strides, his torso suggested by only two simple boards which, in their structure, were very much like an ancient lyre. I immediately began working on a new 'Orpheus', in which the [music-]instrument had truly become part of the man.”

Ossip Zadkine (1890–1967) French sculptor

c. 1960
Source: 1960 - 1968, Dialogues – conversations with.., quotes, c. 1960, pp. 154-155

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Max Beckmann 52

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