“I cannot get over the strange conflict between my estimation of their ideas [the artists of Italian Futurism ] most of which I find brilliant and fruitful, and my view of the [their] pictures [he saw on the Walden exhibition in Berlin, Spring 2012], which strike me as, without a doubt, utterly mediocre.”

— Franz Marc

In a letter to Wassily Kandinsky, 1912; as quoted in Movement, Manifesto, Melee: The Modernist Group, 1910-1914, Milton A. Cohen, Lexington Books, Sep 14, 2004, p. 309 (note 23)
[in a letter, several months later to August Macke Franz Marc writes about the Futurist paintings he saw in Munich: '[Their] effect is magnificent, far, far more impressive then in Cologne' (where Marc had helped Macke with hanging the Futurist exposition)].
1911 - 1914

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Franz Marc 35

German painter 1880–1916

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“They judged my ideas according to one of my short stories, then deduced a variety of strange conclusions and decided which doctrine I belong to. I have been caught in this predicament all these years and cannot get rid of it…”

Ba Jin (1904–2005) Chinese novelist

Dedication to Emma Goldman
Context: Now my education, life and consciousness are talked about by those who cannot understand what I wrote, what I think, what is my life. They make me up from their subjective imagination and attack me publicly as well as secretly. Because my novels completely obscure my behaviour and ideas, and result in a lot of misunderstandings, my name is related to nihilism or humanism, although I have written a book of over three hundred pages to explain my ideas (this book is very easy to understand and without a metaphysical term). Those who talk about me never read it. They judged my ideas according to one of my short stories, then deduced a variety of strange conclusions and decided which doctrine I belong to. I have been caught in this predicament all these years and cannot get rid of it...

“Every day I am thinking about the Art school [which Walden wants to start in Germany, since 1915-16]... If our pursuit is really to make great progress in future, the Art school must produce individualities who can with our assist really continue from their inside and start creating on their own, without always studying the pictures of other artists.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:) Ich denke immer viel über die Kunstschule nach [ die Walden seit 1915/16 anfangen möchte].. .Wenn unser Streben wirklich in der Zukunft grosse Fortschritte machen soll, muss die Kunstschule Individualitäten hervorbringen, die durch uns wirklich vo inneren heraus weiter können und anfangen zu schaffen, ohne immer Bilder von anderen zu sehen.
Quote in a letter of Jacoba van Heemskerck to Herwarth Walden in Berlin, 15 August 1917; as cited in Jacoba van Heemskerck, kunstenares van het Expressionisme, Haags Gemeentemuseum The Hague, 1982, pp. 15-16
1910's

“I made my examination in Berlin in 1915. And I must say also that Berlin was for me in another way very important. At the time there were all these new movements – 'Die Brücke'…… the 'Der Blaue Reiter', Walden of the 'Storm' Gallery. Then Kassierer who bought the Chagalls, the first Chagall's that were ever seen in Europe were there. And there was 'Die Brücke'. Rottluff, Heckel, and Kirchner. You know we saw all that. Which was good. You see, Kassierer was then the man who bought the modern French painters. He had particularly Degas who I consider still today a very good painter, one of the best. But, anyway, in spite of my teaching my art was my concern. On the little money I had collected I lived in Berlin very cheaply, ate very cheaply. And already in 1920 I saved the first salaries I received to go to Munich… So for the first time I saw the old masters, Rubens and all at the Alte Pinakothek.”

Josef Albers (1888–1976) German-American artist and educator

Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

“There is nothing enduring, permanent, either in me or out of me, nothing but everlasting change. I know of no existence, not even of my own. I know nothing and am nothing. Images — pictures — only are, pictures which wander by without anything existing past which they wander, without any corresponding reality which they might represent, without significance and without aim. I myself am one of these images, or rather a confused image of these images. All reality is transformed into a strange dream, without a world of which the dream might be, or a mind that might dream it. Contemplation is a dream; thought, the source of all existence and of all that I fancied reality, of my own existence, my own capacities, is a dream of that dream.”

Johann Gottlieb Fichte book The Vocation of Man

Jane Sinnett, trans 1846 p. 60
The Vocation of Man (1800), Knowledge

“I knew that I must paint not what I saw, but only what was in me, in my soul. Figuratively speaking, it was like this: In my heart I felt as if there were an organ, which I had to sound. And nature, which I saw before me, only prompted me. And that was a key that unlocked this organ and made it sound... They are songs without words.”

Alexej von Jawlensky (1864–1941) Russian painter

from: 'Lebenserinnerungen', 1938
Source: 1936 - 1941, Life Memories' (1938), p. 186

“… the ego's need to be periodically in conflict with something or someone in order to strengthen its sense of separation between me and the other, without which it cannot survive.”

Eckhart Tolle (1948) German writer

Source: Stillness Speaks (2003)

“Now at least 'artists have the upper hand' in the town (Vitebsk). They get totally engrossed in their disputes about art (between constructivists and suprematists), I am utterly exhausted and 'dream' of 'abroad'… After all, there is no more suitable place for artists to be (for me, at least) than at the easel, and I dream of being able to devote myself exclusively to my pictures. Of course, little by little one paints something, but it's not the real thing.”

Marc Chagall (1887–1985) French artist and painter

Chagall was director of the Art School of Vitebsk, including many conflicts
Quote in his letter to Pavel Davidovitch Ettering, 2 April, 1920, as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 74
1920's

“I can not get over everything you did for me in that first day [for his support to hang her works on the 7th Impressionist exhibition, Spring 1882], it seems to me that you are working yourself to death, and all on my account. This touches me deeply and vexes me at the same time.”

Berthe Morisot (1841–1895) painter from France

Berthe Morisot, in a letter to her husband Eugene Manet, 1882; as cited in Impressionist quartet, ed. Jeffrey Meyers; publishers, Harcourt, 2005, p. 120
1881 - 1895

“In response I am sending you some pictures which I painted in Paris out of homesickness for Russia. They are not very typical of me; I have selected the most modest ones for the Russian exhibition.”

Marc Chagall (1887–1985) French artist and painter

Quote from a letter to Mstislav V. Dobushinsky, = A. N. Benois, 1912; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 147
1910's

“I feel the conflict still exists in me – but not causing me any difficulty in working, as it did immediately after returning from Italy [in 1925]. In fact I ask myself is this [the] conflict what makes things happen? For it seems to me now that this conflict between the excitement & great impression I got from Mexican sculpture & the love & sympathy I felt for Italian art, represents two opposing sides in me, the 'tough' & the 'tender', & that many other artists have had the same two conflicting sides in their natures.... and really I see no difficulty in appreciating both sides & finding them in the same artist. Perhaps an obvious & continuous synthesis will eventually derive in my own work – I can’t say – I can only work as I feel & believe at the time I do the work.”

Henry Moore (1898–1986) English artist

in 'Undated notes' 1950; as quoted in The Art of Henry Moore, Will Grohmann, Thames and Hudson, London 1960, n.p.
1940 - 1955

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Franz Marc 35

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