Munich Quotes - page 2
I am often being asked about Petersburg and it's fans. I always say, those are open people, that love their city, their team and try to show it. I am glad, there is such a city, there is such a team and such people, that support that team. In Munich they are all... German! What else can I say? It's as if they come to the theater, everyone are sitting quietly.
Anatoliy Tymoshchuk
The Pact of Munich is signed. Czechoslovakia as a power is out. The genius of the Führer and his determination not to shun even a world war have again won victory without the use of force. The hope remains that the incredulous, the weak and the doubters have been converted and will remain that way.
Alfred Jodl
.. I let myself go.. [in Kandinsky's Murnau-period when he was painting in open air; c. 1908 – 1914] I thought little of the houses and trees, but applied colour stripes and spots to the canvas with the knife and made them sing out as strongly as I could. Within me sounded the memory of early evening in Moscow, before my eyes was the strong, colour-saturated scale of the Munich light and atmosphere, which thundered deeply in the shadows.
Wassily Kandinsky
There was an exhibition in Munich in 1937, 'Degenerate Art,' which included work by Klee, Kandinsky, Beckmann and many others. The work was called 'sick' and put in the trash heap. The sentiments expressed toward contemporary art by Jesse Helms, Pat Robertson and Mayor Giuliani recall the language used by the Nazis.
Hans Haacke
Hitler promised me protection after I had participated in the Munich putsch in 1923. I am very proud that I marched alongside Hitler in that affair. Hitler was never forgetful of that fact, and his faith and confidence in me was unshaken until the end. I, in turn, never broke my oath of loyalty to him.
Julius Streicher
...Hades had opened its gates and vomited forth the basest, most despicable, most horrible demons. In the course of my life I had seen something of untrammeled human insights of horror of panic. I had taken part in a dozen battles in the First World War, had experienced barrages, gassings, going over the top. I had witnessed the turmoil of the postwar era, the crushing uprisings, street battles, meeting hall brawls. I was present among the bystanders during the Hitler Putsch in 1923 in Munich. I saw the early period of Nazi rule in Berlin. But none of this was comparable to those days in Vienna. What was unleashed upon Vienna had nothing to do with [the] seizure of power in Germany. ...What was unleashed upon Vienna was a torrent of envy, jealousy, bitterness, blind, malignant craving for revenge. All better instincts were silenced... only the torpid masses had been unchained. ...It was the witch's Sabbath of the mob. All that makes for human dignity was buried.
Carl Zuckmayer
And I go to my room and stretch out my arms to the West-that it is far away [from here], that I will someday return. Outside those painful sensations-it is horrible to be before these people and their lives. Service and family troubles -a hard beginning, pay raise, promotion - sweet dreams, scandal - daily bread, [This is a figurative reference to Our Lord's Prayer, "give us this day our daily bread.."] and their happiness reminds me sweetly, of those who buy "for the people," and whose food you wouldn't put in your mouth. I think of Munich and of my health. All that is here is suffering and this horror of beauty and this horrible life and this overbearing literature, and the complete superfluousness of art.
Marianne von Werefkin
My eyes are magical glass [when looking at] the outside world, and it can transform a lot into bewitching beauty. Paris, Munich.... they're all the same. The country is nice, because it is closer to nature and bad because we [Werefkin and Jawlensky] are no longer people from nature. I saw this at Blagodat. The more a person improves himself, the more one is doomed to loneliness. One doesn't need friends, one needs oneself and anybody who loves you like themselves.
Marianne von Werefkin
We [ Kandinsky and Gabriele] came here [in Murnau, near Munich] together, on a brief visit, for the first time in 1908, in June, and we were both delighted with the town and its surroundings. In August, we then returned to Murnau for two months, with Jawlensky and Marianne Werefkin.... Kandinsky fell in love with it [with the house in Murnau where Gabriele lived, till 1962] and said: 'You must buy it for our old age'. So I bought it and we then made it our home until he returned to Russia in 1914. Jawlensky and Marianne [Werefkin] used to stay with us here, and the people of Murnau called it: 'The House of the Russians.
Gabriele Munter
I think we were all more interested in being honest than in being modern. That's why there could be such great differences between the styles of the various members of our group... They had great faith in each other. I think that each of them knew that the other, as an artist, was absolutely honest. Whenever Kubín came to Munich from his nearby country retreat, they [Kandinsky and Kubin] spent many hours together, and I wish I had been able to take down in shorthand some of their conversations. Their ideas about art and life were so different.
Gabriele Munter
They [Jawlensky and Münter] often lived here in our Murnau house. But Paul Klee and Franz Marc were also close friends, and August Macke, too, whenever he was in Munich... Klee was never as active a theorist, in those years, as Kandinsky or Marianne de Werefkin. Besides, it took Klee much longer to become a truly and conscious modern artist... As you can see in my portrait of Klee, which is painted in 1913 – I mean the one where he is seen seated in one of the rooms here downstairs and wearing white summer slacks – he is not very communicative. That is why I depicted him all hunched up and tense, as if he were constraining some mainspring within himself. In my eyes, it was almost a portrait of silence rather than of Klee, and for many years it no longer occurred to me that he had been my model. But Klee was always a close friend of ours, and Kandinsky and I had great confidence in his talent and his future.
Gabriele Munter
I met him Kandinsky shortly after my return to Germany from the United Sates. At first, I lived for a while in Bonn... A year later, in 1901, I decided to move to Munich, but still found very little encouragement as an artist. German painters refused to believe that a woman could have real talent, and I was even denied access, as a student, to the Munich Academy... It is significant that the first Munich artist who took the trouble to encourage me was Kandinsky, himself no German but a recent arrival from Russia.
Gabriele Munter
.. we parted in 1914, when Kandinsky, being an enemy alien [because of his Russian nationality], had to flee from Germany to Switzerland, as did Jawlensky and Marianne de Werefkin too [to neutral Switzerland]... Ever since we parted in 1914, I have worked mainly by myself. After the First World War, here in Munich, we found that our Blue Rider group had broken up. Franz Marc and Macke had both been killed [in World War 1. ] Kandinsky, Jawlensky and Marianne were no longer here; Bloch and Burliuk were in America. Those of us who were still in Munich remained friends, of course, but each one of us had learned to work by himself rather than in a group. Besides.... we had always been individualists and our Blue Rider group never had a style of its own as uniform as that of the Paris cubists.
Gabriele Munter
Among those who were sent to receive political indoctrination in June 1919 was a 30-year-old corporal who had been in the Bavarian army since the beginning of the war and had stayed in it through all the vicissitudes of Social Democracy, anarchy and Communism, taking part in demonstrations, wearing a red armband along with the rest of his comrades, and disappearing from the scene with most of them when they had been ordered to defend Munich against the invading forces in the proceeding weeks. His name was Adolf Hitler.
Richard J. Evans
In the autumn of 1884 I went to Paris. The spirit that greeted me was certainly more impressive than in Germany. I studied in a famous school. The French who I met there seemed to me not at all equipped. Traditional views. I was there for three years. I never found a talent. Among the Germans, in particular at the Academy of Munich, there was a lot more momentum. I admire the French painting from Watteau to Monet, otherwise there is nothing that can be said to be exceptional.
Lovis Corinth
I commenced the study of the Chinese language at the University of Munich. I had then about 3 years in Germany, engaged in various studies. Happening to notice the announcement of a course of lectures on the language of the Chinese by Professor Neumman, the interest I have always taken in the people, induced me to employ an otherwise vacant hour in learning something of their tongue.
Thomas Taylor Meadows
A musical event in Münich has brought me a great dolt.... an evening of chamber-music by Arnold Schoenberg (Vienna).... the audience behaved loutishly, like school brats, sneezing and clearing their throats, when not tittering and scraping their chairs, so it was hard to follow the music. Can you imagine a music in which tonality (that is, the adherence to any key) is completely suspended? I was constantly reminded of Kandinsky's large composition which also permits no trace of tonality.... and also of Kandinsky's 'jumping spots' in hearing this music [of Schoenberg], which allows each tone sounded to stand on its own (a kind of white canvas between the spots of color). Schönberg proceeds from the principle that the concepts of consonance and dissonance do not exist at all. A so-called dissonance is only a mere remote consonance – an idea which now occupies me constantly while painting..
Franz Marc