![I now began to search for a new path in art [from 1914, with the outbreak of World War 1. ]. It was a major task. I understood that I did not have to paint what I saw, not even what I felt, but only that which lived within me, in my soul. To put it in symbolic terms, it is like this: I felt within myself, within my breast, the keyboard of an organ and I had to make it resonate. And the nature that was in front of me served me only as a prompter. And that was a key that unlocked this organ and made it resonate. In the beginning it was very difficult. But little by little, it became easy for me to use colours and forms to find what was within my soul. (Alexej von Jawlensky)](https://cdn.quotesdtb.com/img/quotes_images_webp/53/alexej-von-jawlensky-art-293453.webp)
I now began to search for a new path in art [from 1914, with the outbreak of World War 1. ]. It was a major task. I understood that I did not have to paint what I saw, not even what I felt, but only that which lived within me, in my soul. To put it in symbolic terms, it is like this: I felt within myself, within my breast, the keyboard of an organ and I had to make it resonate. And the nature that was in front of me served me only as a prompter. And that was a key that unlocked this organ and made it resonate. In the beginning it was very difficult. But little by little, it became easy for me to use colours and forms to find what was within my soul.
Alexej von JawlenskyRelated topics
art beginning begin breast easy felt find front key keyboard nature now paint path saw search soul task use war coloursRelated quotes
What is a charitable heart? It is a heart which is burning with love for the whole creation, for men, for the birds, for the beasts ... for all creatures. He who has such a heart cannot see or call to mind a creature without his eyes being filled with tears by reason of the immense compassion which seizes his heart; a heart which is softened and can no longer bear to see or learn from others of any suffering, even the smallest pain being inflicted upon a creature. That is why such a man never ceases to pray for the animals ... [He is] ... moved by the infinite pity which reigns in the hearts of those who are becoming united with God.
Isaac the Syrian
Do everything simply and meekly. Do nothing with an ulterior motive. Don't say, I'll do this in order to have that result, but do it naturally, without taking cognizance of it. That is, pray simply and don't think about what God will bestow on your soul. Don't make any calculations. You know, of course, what God bestows when you enter into communion with Him, but it is as if you don't know. Don't discuss the matter even with yourself. So when you repeat the prayer, "Lord Jesus Christ, have mercy on me”, say it simply and ingenuously and think of nothing other than the prayer. These are very delicate matters and the intervention of the grace of God is required.
Porphyrios of Kafsokalyvia
The aesthetics of painting were always in a state of development parallel to the development of painting itself. They influenced each other and vice versa. But all of the sudden, in that famous turn of the century [1900] a few people thought they could take the bull by the horns and invent an aesthetic beforehand. After immediately disagreeing with each other, they began to form all kinds of groups, each with the idea of freeing art... The question as they saw it, was not so much what you could paint, but what you could not paint. You could not paint a house or a tree or a mountain. It was then that the subject matter came into existence as something you ought not to have.
Willem de Kooning
If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: in portrait painting to put on canvas something more than the face the model wears for that one day: to paint the man, in short, as well as his features; in arrangement of colours to treat a flower as his key, not as his model. This is now understood indifferently well – at least by dressmakers. In every costume you see attention is paid to the key-note of colour which runs through the composition, as the chant of the Anabaptists through the 'Prophète', or the Hugenots' hymn in the opera of that name.
James McNeill Whistler
The ones [compliments] I value most came from Edgar Degas who said he was happy to see my work becoming more and more pure. The etcher Bracquemond, a pupil of Ingres, said - possibly he meant what he said - that my work shows increasing strength. I will calmly tread the path I have taken, and try to do my best. At bottom, I have only a vague sense of its rightness or wrongness. I am much disturbed by my unpolished and rough execution. I should like to develop a smoother technique which, while retaining the old fierceness, would be rid of those jarring notes which make it difficult to see my canvases clearly except when the light falls in front. There lies the difficulty - not to speak of drawing.
Camille Pissarro