“I was thrilled, and I mean really thrilled, when I read that parts of the Merzbau could still be buried under the ruins. Whatever the circumstances. I will try and come to Hannover to salvage it.... wait until I arrive, for the Merzbau is made of plaster of Paris and could easily be damaged. However by working slowly I am sure I can save parts. And it is certainly worth it, because it [his 'Merzbau'] is my life's work. And in the opinion of people abroad it was seen as a new form of art.”

Source: 1940s, I is Style (2000), p. 47 : in a letter to Käthe Steinitz (24 June 1945)

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Kurt Schwitters32

German artist 1887–1948

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“In Hanover I built, before Hitler's time, a studio called Merzbau. This has been reproduced very much, also in the book 'Dada, Surrealism, Fantastic Art' of the Museum of Modern Art N. Y. I would like to go to Germany for restoring the Merzbau... Could I come with you to an agreement that you give me for this purpose some money? For example that I give you some pictures for the money and use it for restoring the studio... Or would you prefer that you own with me half and half?..”

Kurt Schwitters (1887–1948) German artist

Source: 1940s, I is Style (2000), p. 48 : in a letter (30 April 1946) to Oliver Kaufmann, (department of Painting and Sculpture of the MOMA, New York).

“I was lying in an easy-chair, in front of a garden. I saw that the spiritual power was still active in me: I could go on with occult experiments in spite of the illness. I used to concentrate on things and persons and circumstances and wanted to see if the power worked. It worked very well on the mental and vital planes. Then I broadened the field of activity. I could go on doing my work in various parts of France and America and other places. I could clearly see the faces of the persons worked upon. They could be made to do what they by themselves could not. These were controlled experiments … I could see that nothing could stop the work: even without my body the work could go on … Wherever the call was, I could attend.”

The Mother (1878–1973) spiritual collaborator of Sri Aurobindo

Her notings in the diary when she was very ill in April 1915, quoted in "Diary notes and Meeting with Sri Aurobindo", also in Chapter 10 Return to France http://www.motherandsriaurobindo.org/Content.aspx?ContentURL=_staticcontent/sriaurobindoashram/-00%20e-library@@@/-03%20disciples/k%20r%20srinivas%20iyengar/On%20The%20Mother/-12_Return%20to%20France.htm, p. 136

“Then [speaking of his loosely figurative work of the 1930's, in Germany] I was still under nature, not that I was imitating it; now [1957] I am above nature. But everything comes from nature, I too am part of nature; my memory comes from nature, too.”

Hans Hofmann (1880–1966) American artist

Quote in: 'Hans Hofmann', Elizabeth Pollet, (interview of his 1957 Whitney Museum exhibition), Arts Magazine, May 1957 (article: 30-33)
1950s

“great writers are indecent people
they live unfairly
saving the best part for paper.

good human beings save the world
so that bastards like me can keep creating art,
become immortal.
if you read this after I am dead
it means I made it.”

Charles Bukowski book The People Look Like Flowers at Last

Source: The People Look Like Flowers at Last

“That's right, and then I worked with him [ Hans Hofmann ] a little more than that. When I had time I could come in and use his studio, in a sense, that is to say, if it was a still-life class, I could be doing any kind of abstraction at that point, using that as a take-off point.... here again, when you spoke earlier about Cubism, I say I really didn't get the first impact, the full impact of it [Cubism], until I worked with Hofmann.”

Lee Krasner (1908–1984) American artist

n.p.
Oral history interview with Lee Krasner, 1964 Nov. 2 - 1968 Apr. 11

“I admired and felt the anonymous structure of the work of Brancusi, Vantongerloo, Arp, and Taeuber-Arp [the wife of Hans Arp] whose studios I visited. [Kelly frequently visited Hans Arp and his wife in Paris and discussed his fresh-made art with them intensively]. Their work reinforced my own ideas for the creation of a Pré-Renaissance, European type art: its anonymous stone work, the object quality of the artifacts, the fact that the work was more important than the artist’s personality. Of the Europeans, I mostly admired the way Picasso, Klee and Brancusi 'made' their art. Contrary to what has been said about me, Mondrian and Matisse did not interest me when I was in Paris. Mondrian’s [paintings] could not be seen in Paris and when I did see them in Holland in 1953, I thought their structure too rigid and intellectual.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. unknown : 'Notes from 1969'

“I'm thrilled of the acceptance I get abroad. The people are so hearty, warm and grateful and I feel privileged having seen so many countries and some of the greatest monuments”

Daniel Radcliffe (1989) English actor

“They are songs which can be sung in a Christian context, but they all had to mean something to me because I was often on the edge of not believing. The songs certainly have not made my fortune, but I am still grateful for the royalties when they come in.”

Sydney Carter (1915–2004) British musician and poet

On the songs One More Step, Lord of the Dance, and When I needed a neighbour which a survey of schools in the UK found to be the first, fifth, and sixth most sung of songs under copyright used in school assemblies.
The Times [London] (29 August 1996)

“I am constantly recharged by the different artists I work with, by the new challenges we face, and by listening to my inner voice. My trip to the ocean every year gives me great peace, and now that I am a grandfather for the first time, I am thrilled and inspired every day that I see my granddaughter because I have great hope for the future generation.”

Hugo Medrano director, playwright, and actor

On what inspires him in “An Interview with GALA Hispanic Theatre’s Hugo Medrano” https://mdtheatreguide.com/2011/10/an-interview-with-gala-hispanic-theatres-hugo-medrano/ in MD Theatre Guide (2011 Oct 8)

“I am saying that truth may certainly be true whatever my opinion may be, but it has no authority with me until I perceive it to be true.”

Leslie Weatherhead (1893–1976) English theologian

Source: The Christian Agnostic (1965), p.56

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