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Paula Modersohn-Becker

Paula Modersohn-Becker (February 8, 1876 - November 21, 1907) was a German painter in Worpswede and one of the most important representatives of early German Expressionism. She frequently stayed in Paris and saw the work of modern artists there, like paintings of Cézanne and early Henri Matisse's.

Quotes of Paula Modersohn-Becker

 * sorted chronologically, after date of the quotes of Paula Modersohn-Becker

1897

 * , Worpswede, Worpswede! [small rural village in North-Germany were a colony of German artists was working then, including Paula] My sunken Bell mood! Birches, birches, pine trees and old willows. Beautiful brown moors – exquisite brown! The canals with their black reflections, black as asphalt..
 * Quote from her Journal, Worpswede 1897; as cited in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 192

 * , Worpswede, I cannot get you out of my mind. There was such atmosphere there – right down to the tips of your toes. Your magnificent pine trees! I call them my men – thick, gnarled, powerful, and tall – and yet with the most delicate nerves and fibers in them. That is my image of the ideal artist. And your birch trees – delicate, slender young virgins who delight the eyes. With that relaxed and dreamy face, as if life had not really begun for them.. .But then there are some already masculine and bold, with strong and straight trunks. Those are my 'Modern women'. And you willows, with your knotty trunks..  .You are my old men with silver beards. I have company enough, indeed I do, and it's my own private company. We understand each other well and nod friendly answers back and forth. Life, life, life!
 * a quote of her Journal, Worpswede 1897; as cited in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 192

 * Today I painted my first plain air portrait at the clay pit, a little blond and blue-eyed girl. The way the little thing stood in the yellow sand was simply beautiful – a bright and shimmering thing to see. It made my heart leap. Painting people is indeed more beautiful than painting a landscape. I suppose you can notice that I am dead-tired, after this long day of hard work, cant you? But inside I am so peaceful and happy..
 * in a letter to her mother, from Worpswede, August 1897; as quoted in Paula Modersohn-Becker, The Letters and Journals by Paula Modersohn-Becker, eds. Günter Busch, Liselotte von Reinken, Arthur S. Wensinger, Carole Clew Hoey - Northwestern University Press, 1998, p. 79

 * I paint all day. First Becka Brotmann with her loose yellow hair and just a suggestion of dahlias in the background. Then I painted Anni Brotmann at the clay pit, where the sun nearly baked us. In the afternoon I painted Rieke Gefken holding red lilies. I think it is the best thing I've done so far – I'll show it to Mackensen [her teacher in Worpswede] tomorrow. I spent another hour with Vogeler, yesterday.. ..he showed us a sketchbook full of his ideas for etchings..  ..many really fine and original things.
 * in a letter to her mother, from Worpswede, c. 28 August 1897; as quoted in Paula Modersohn-Becker, The Letters and Journals by Paula Modersohn-Becker, eds. Günter Busch, Liselotte von Reinken, Arthur S. Wensinger, Carole Clew Hoey - Northwestern University Press, 1998, p. 81
 * My blonde was here again today. This time with her little boy at her breast. I had to draw her as a mother, had to. That is her single true purpose. Marvelous, these gleaming white breasts in her fiery red blouse. The whole thing is so grand in its shape and color..
 * excerpt of Marianne's Journal, Worpswede 1897; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 193

 * The Journal of Marie Bashkirtseff. Her thoughts enter my bloodstream and make me very sad. I say as she doers: if only I could accomplish something! My existence seems humiliating to me. We don't have the right to strut around, not until we've made something of ourselves.
 * excerpt of her Journal, Worpswede 1897; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 193
 * Marie Bashkirtseff was a woman-painter born in the Ukraine, who died very young; her Journal was published c. 1895

 * I sketched a young mother with her child at her breast, sitting in a smoky hut. If only I could someday paint what I felt then. A sweet woman, an image of charity. She was nursing her big, year-old bambino.. .And the woman gave her life and her youth and her power tot the child in utter simplicity, unaware that she was a heroine.
 * excerpt of her Journal, Worpswede 1897; as quoted in: Witzling (1991, p. 193) and Delia Gaze (2001) Concise Dictionary of Women Artists, p. 489

 * I think I'm getting into the real mood and atmosphere of Worpswede now. What I used to call my Sunken Bell mood, the spell I was under when I first got here, was sweet, very sweet – but it was really only a dream, and one that couldn't last long in any sort of active life. Then came the reaction to it, and after that something truer – serious work and serious living for my art, a battle I must fight with all my strength. I am filled with the sun, every part of me, and with the breezy air, intoxicated with the moonlight on the bright snow.. .Nature was speaking with me and I listened to her, happy and vibrant. Life.
 * excerpt of her Journal, Worpswede 1897; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, pp. 193-194

 * Nature is supposed to become greater to me than people. It ought to speak louder from me. I should feel small in the face of nature's enormity. That is the way Mackensen [her teacher, painter in Worpswede] thinks it should be. That is the alpha and omega of all critique. What I should learn, he says, is a more devout representation of nature. It seems that I let my own insignificant person step to the forefront too much.
 * excerpt of her Journal, Worpswede 1897; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 194
 * I became aware of something today when I was with Fräulein Weshoff [German woman-sculptor, who married later the poet Rilke ]. I should like to have her as a friend. She is grand and splendid to look at – and that's the way she is as a person and as an artist. Today we raced down the hill on our little sleds. It was such fun.
 * excerpt of her Journal, Worpswede 1897; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 194

 * If I could really paint! A month ago I was so sure of what I wanted. Inside me I saw it out there, walked around with it like a queen, and was blissful. Now the veils have fallen again, gray veils, hiding the whole idea of me. I stand like a beggar at the door, shivering in the cold, pleading to be let in. It is hard to move patiently, step by step, when one is young and demanding.. .I walk along the boulevards [Paris] and crowds of people pass by and something inside me cries out, 'I still have such beautiful things before me. None of you, not one, has such things'. And then it cries, 'When will it come? Soon?'
 * excerpt of her Journal, Paris 1897; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 195

 * I have been depressed for days. Profoundly sad and solemn. I think the time is coming for struggle and uncertainty. It comes into every serious and beautiful life. I knew all along that it had to come. I've been expecting it. I am not afraid of it. I know it will mature and help me develop. But everything seems so serious and so hard, serious and sad to me. I walk through this huge city [Paris]. I look into a thousand thousand eyes. But I almost never find a soul there.. .And beneath it all flows the Styx [the Seine], deep and slow, knowing nothing of these brooks and wells of ours. I am sad. And all around me ate the heavy, pregnant, perfumed breezes of spring..
 * excerpt of her Journal, Paris 1897; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 195

 * As I was painting today, some thoughts came to me and I want to write them down for people I love. I know that I shall not live very long. But I wonder, is that sad? Is a celebration more beautiful because it lasts longer? And my life is a celebration, a short, intense celebration. My powers of perception are becoming finer.. ..with almost every breeze I take, I get a new sense and understanding of the linden tree, of ripened wheat, of hay..  .I suck everything up into me. And if only now love would blossom for me, before I depart; and if I can paint three good pictures, then I shall go gladly, with flowers in my hair..
 * excerpt of her Journal (1897); as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 196

 * Someday I must be able to paint truly remarkable colors. Yesterday I held in my lap a wide, silver-gray satin ribbon, which I edged with two narrower black, patterned silk ribbons. And I placed on top of these a plump, bottle-green velvet bow. I'd like to be able to paint something one day in those colors..
 * excerpt of her Journal (1897); as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 196

1898

 * How happy I would be if I could give figurative expression to the unconscious feeling that often murmurs so softly and sweetly within me.
 * In her Diary (1898); as quoted in: Werner Haftmann (1966) An analysis of the artists and their work, p. 82

 * I lay under the buckthorn tree. My soul was enchanted. I looked up through its leaves. The sun was coloring them a briljant yellow. They stood out from their delicate red stems, laughing at the sky. And the sky was deep blue with one small cloud. And the blue was a glorious contrast to the yellow of the leaves. And the wind came and played with them, turning them over so that I could see their shiny upper surfaces. And the wind came down to me, too, bringing me armfuls of sweet fragrance. The buckthorn was in blossom and that was the prettiest thing about it. Its scenty filled the soft air and covered me in a dream, tenderly, ans sang to my soul a tale of times before I ever was, and of times when I shall be no more..
 * from her Journal, in Lilleon, June 1898; as quoted in Paula Modersohn-Becker – The Letters and Journals, ed: Günther Busch & Lotten von Reinken; (transl, A. Wensinger & C. Hoey; Taplinger); Publishing Company, New York, 1983, p. 105

 * Recently I have felt just what the mood of colors means to me: it means that everything in this picture changes its local color according to the same principle and that thereby all muted tones blend in a unified relationship, one to the other.
 * excerpt of her Journal, Worpswede, 24 July 1898; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 197

 * I was reading about and looking at Mantegna [Italian early-Renaissance painter]. I can sense how good he is for me. His enormous plasticity - it has such powerful substance. That is just what is lacking in my things. I could do something about that if I could add his substantiality to the greatness of form I'm struggling for. At present I see before my eyes very simple and barely articulated things. My second major stumbling is my lack of intimacy. Mackensen's [her former teacher] way of portraying the people here is not great enough for me, too genre like. Whoever could, ought to capture them in runic script..
 * excerpt of her Journal, Worpswede 1898; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 197

 * Today I saw an exhibition of old Japanese paintings and sculpture [in Paris]. I was seized by the great strangeness of these things. It makes our own art seem all the more conventional to me. Our art is very meager in expressing the emotions we have inside. Old Japanese art seems to have a better solution for that.. .We must put more weight on the fundamentals!! When I took my eyes from these pictures and began looking at the people around me, I suddenly saw that human being are more remarkable, much more striking and surprising than they have been painted. A sudden realization like that comes only at moments.
 * excerpt of her Journal, Paris, 1898; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 197

 * I must learn how to express the gentle vibration of things, their roughened textures, their intricacies. I have to find an expression for that in my drawing, too, in the way I sketched my nudes here in Paris, only more original, more subtly observed. The strange quality of expectation that hovers over muted things [skin, Otto's Otto Modersohn forehead, fabrics, flowers]; I must try to get hold of the great and simple beauty of all that. In general, I must strive for the utmost simplicity united with the most intimate power of observation. That's where greatness lies.
 * excerpt of her Journal, Paris, 1898; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, pp. 197-198

 * I want to go further and further. I can hardly wait until I am a real artist. And then I long so for life. I've only begun to get a little taste of it.
 * In her Journal-entry, December, 1898; as quoted in Modersohn-Becker P, Busch G, Reinken LV: Paula Modersohn-Becker, the Letters and Journals, Taplinger; New York 1983, p. 118

1899

 * I am constantly observing things and believe that I am coming closer to beauty. In the last few days I have discovered form and have been thinking much about it. Until now I've had no real feeling for the antique. I could find it very beautiful by itself. But I could never find any thread leading from it to modern art. Now I've found it, and that's what I believe is called progress.
 * excerpt of her Journal, 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 198

 * I feel an inner relationship which leads from the antique tot the Gothic, especially from the early ancient art, and from the Gothic to my own feeling for form. A great simplicity of form is something marvelous. As far back as I can remember, I have tried to put the simplicity of nature into the heads that I was painting or drawing. Now I have a real sense of being able to learn from the heads of ancient sculpture..
 * excerpt of her Journal, 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 198

 * The intensity with which a subject is grasped (still life's, portraits, or creations of the imagination) – that is what makes for beauty in art.
 * excerpt of her Journal, Worpswede 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 198

 * Last year I wrote: 'the intensity with which a subject is grasped, that is what makes for beauty in art'. Isn't it also true for love?
 * excerpt of her Journal, Worpswede 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991

 * To [aunt] Marie Hill, Dearest Why do you tempt me? I really cannot. It's impossible! Be happy? The only thought I have in my mind is to immerse myself in my art, to merge completely with it until I can begin to express what I really feel – and after that to be consumed even more by it. Even if I wanted to, I could not leave here [Worpswede].. .I want to  live here. I want to 'live' – and develop further as a person and as an artist..  .Can you understand this? I think you can. And do you approve? I hope so. In any case, I can't do any different..
 * In a letter to her aunt Mary Hill, from Worpswede, June 1899; as quoted in Paula Modersohn-Becker – The Letters and Journals, ed: Günther Busch & Lotten von Reinken; (transl, A. Wensinger & C. Hoey; Taplinger); Publishing Company, New York, 1983, p. 135

 * I really see nothing of other people. I'm trying to dig my way back again into my work. One absolutely has to dedicate oneself, every bit of oneself, to the one inescapable thing. That's the only way to get somewhere and to become something.
 * In a letter to her parents, Worpswede, 10 September 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 199

 * I've made use of the beautiful weather to sketch and paint outside. I had been staying away from color for such a long time that it had become something quite foreign to me. Working in color was always a great joy to me. And now it is a great joy again. Still, I have to battle with it, wrestle with it, with all my strength. And one must be victorious. But if it weren't for the fight, all the beauty of it wouldn't exist at all, would it? I'm writing this mostly for Mother who, I believe, thinks my whole life is one constant act of egoistic ecstasy. But devotion to art also involves something unselfish.
 * In a letter to her parents, from Worpswede, 10 September 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 199

 * I'm going through a strange period now. Maybe the most serious of all my short life. I can see that my goals are becoming more and more remote from those of the family, and that you and they will be less and less inclined to approve of them.. .And still I must go on. I must not retreat. I struggle forward, just as all of you do, but I'm doing it within my own mind, my own skin, and in the way I think is right. I'm little frightened by my loneliness in my unguarded hours. But personally those are the very hours that help me along toward my goal. You needn't show this letter to our parents.
 * In a letter to her sister Milly, 21 September 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 199

1900 - 1905

 * My art is going well. I have a feeling of satisfaction about it. Afternoons I stroll around the city [Paris] taking a good look at everything and trying to absorb it all.. .I went back to the Notre Dame again. Such wonderful Gothic detailing, those monstrous gargoyles, each one with its own character and face..  .Directly behind Notre Dame, almost encircled by the Seine, lies the morgue. Day after day they fish corpses from the river here, people who don't want to get on living.
 * In a letter to her sister Milly, from Paris, 29 February 1900; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 200

 * ..to have all colors deeper, more intense; |I| get quite angry at this lightness..
 * quote from a letter to her husband Otto Modersohn from Paris, 29 February, 1900; as quoted in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 31
 * as early as 1900 Paula Modersohn-Becker had written from Paris that she longed for stronger and deeper colors in her own work

 * As I was painting today, some thoughts came to me and I want to write them down for the people I love. I know that I shall not live very long. But I wonder, is that sad? Is a celebration more beautiful because it lasts longer? And my life is a celebration, a short, intense celebration.
 * In her Journal-entry, 26 July 1900; as quoted in Tromp M, Ravelli AC, Reitsma JB, Bonsel GJ, Mol BW: Increasing maternal age at first pregnancy planning: health outcomes and associated costs, in: 'J Epidemiol Community Health', Dec. 2010, p. 4
 * Please let your 'hot-blooded iconoclasm' slumber a bit longer, and for a while permit me simply to be your Madonna. It's meant to be for your own good, do you believe that? Keep your mind on art, our gracious muse, dear. Let us both plan to paint all this week. And then early Saturday I shall come to you.
 * In a letter to her husband Otto Modersohn, after 12 September 1900; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 200

 * Is it true that all I ever write you about is painting and nothing else? Isn't there love in my lines to you and between the lines, shining and glowing and quiet and loving, the way a woman should love and the way your woman loves you?
 * In a letter to her husband Otto Modersohn, from Berlin, 4 February 1901; as quoted in Voicing our visions, -Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 201

 * In the last few days I have been thinking very intensively about my art and I believe that things are progressing for me. I even think that I'm beginning to have a liaison with the sun. Not with the sun that divides everything up and puts shadows in everywhere and plucks the image into a thousand pieces, but with the sun that broods and makes things gray and heavy and combines them all in this gray heaviness so that they become one. I'm thinking about all of that very much and it lives within me besides my great love. A time has come when I think that I shall again be able to say something [in her painting] one day; I am again devout and full of expectation..
 * In a letter to her friend, the sculptress Clara Rilke-Westhoff, from Worpswede, 13 May 1901; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 201

 * Isn't love thousandfold? Isn't it like the sun that shines on everything? Must love be stingy? Must love give everything to one person and take from the others.. .I don't know much about the two of you [ Rilke and Clara ]; but it seems to me that you have shed too much of your old self and spread it out like a cloak so that your king [Rilke] can walk on it. I wish for your sake and for the world and for art [Clara is sculptress] and also for my sake that you would wear your own golden cape again..
 * In a letter to her friend, the sculptress Clara Rilke-Westhoff, from Worpswede, 13 May 1901; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 202

 * In my first year of marriage I have often wept and the tears fall often as they did in my childhood - in large drops. They occur when I hear music and when I see beautiful things which move me. In the last analysis, I live alone just as much as I did in my childhood. This aloneness makes me sometimes sad and sometimes happy. I believe it deepens one's life. One lives less according to outward appearances.. .One lives inwardly.
 * note from her Journal, March 1902; as quoted by Susan P. Bachrach, in 'Paula Modersohn-Becker (1876-1907) Woman and Artist as Revealed Through Her Depiction of Children', (text on: Fembio - Notable Woman International: Biographies)

 * Someday I must be able to paint truly remarkable colors. Yesterday I held in my lap a wide, silver-gray satin ribbon which I edged with two narrower black, patterned silk ribbons. And I placed on top of these a plump, bottle-green velvet bow. I'd like to be able to paint something one day in those colors.
 * note in her Journal, 3 June, 1902; as quoted in Paula Modersohn-Becker, the Letters and Journals, ed. Günter Busch and Liselotte von Reinken (1998), p. 278

 * ..Mother, the dawn has broken in me and I can feel the day approaching. I'm going to become somebody. If only I had been able to show Father that my life has not been fishing in troubled waters, pointless; if only I had been able to repay him for the part of himself that he planted in me! I feel that the time is soon coming when I no longer have to be ashamed and remain silent, but when I feel with pride that I am a painter..
 * In a letter to her mother, from Worpswede, 6 July 1902; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 202

 * I believe that one should not think so much about nature when painting, at least not during the conception of the picture. Make the color sketch exactly as one has felt something in nature. But my personal feeling is the main thing. Once I have established it, lucid in tone and color, I must bring in from nature the things that make my painting seem natural, so that a layman will only think that 1 have painted it from nature.
 * quote from her Diaries, 1 October, 1902; as cited in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 31

 * I feel a burning desire to become grand in simplicity.
 * note in her Journal, April 1903; as quoted in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 30

 * Today I was on the Rue Laffette where the art dealers are. There is so much of interest to see here. You know the things that you call 'the artistic' in art. The French possess to a high degree this sense of not having to bring everything to a pitch of perfection. The mobility in their nature really comes to their aid there. We Germans always obediently paint our pictures from top till bottom, and are much to ponderous to do the little oil-sketches and improvisations which so often say more than a finished painting.
 * In a letter to her husband Otto Modersohn, from Boulevard Raspail 203, Paris, 14 February 1903; as quoted in Paula Modersohn-Becker – The Letters and Journals, ed: Günther Busch & Lotten von Reinken; (transl, A. Wensinger & C. Hoey; Taplinger); Publishing Company, New York, 1983, p. 292

 * There are great many Rembrandts here [in Paris]. Even if they are yellow with varnish, I can still learn so much from them, the wrinkled intricacy of things, life itself. There is a little thing here by him.. ..It is of a women in bed, nude. But the way it's painted, the way the cushions are painted, their shapes, with all those details of lacework, the whole thing is bewitching.
 * In a letter to her husband Otto Modersohn, from Boulevard Raspail 203, Paris, 18 February 1903; as quoted in Paula Modersohn-Becker – The Letters and Journals, ed: Günther Busch & Lotten von Reinken; (transl, A. Wensinger & C. Hoey; Taplinger); Publishing Company, New York, 1983, p. 297

 * Mornings I am painting Clara Rilke in a white dress. It's to be her head and part of a hand holding a red rose. She looks very beautiful that way, and I hope that I am getting a little of her into my portrait. Her little girl, Ruth is playing next to us. She is a cuddly little creature. I'm happy that I can get together frequently with Clara Rilke this way. In spite of everything she is still, of all my friends, the one I care about the most. She was living very close to Rodin for about a month..  .As Rodin's secretary Rilke [Clara's husband] is gradually meeting the intelligentsia of Europe. Otto paints and paints and paints..
 * In a letter to her mother, from Worpswede, 26 November 1905; as quoted in Paula Modersohn-Becker – The Letters and Journals, ed: Günther Busch & Lotten von Reinken; (transl, A. Wensinger & C. Hoey; Taplinger); Publishing Company, New York, 1983, p. 375

1906 + 1907

 * Dear Rainer Maria Rilke I thank you for saying that you rather like my painting of 'the little child'.. .You have brought me the first touch of Paris with this phrase of yours about 'liking and approving', and that alone is a great deal..  .Will I be seeing you here [in Worpswede] before I leave? I really hope not. The ground is burning a little beneath my feet..  . And now, I don't even know how I should sign my name. I'm not Modersohn, but I'm no longer Paula Becker anymore either [because she was married with Otto Modersohn, but is now leaving him]. I am Me, and I hope to become Me more and more. That is surely the goal of all our struggles..  .I am now leaving Friday night and shal arrive in Paris on Saturday. Write a line to 29 Rue Cassette, where I plan to stay..
 * quote in a letter from Worpswede, 17 February, 1906 to Rainer Maria Rilke in Paris; as quoted in Modersohn-Becker P, Busch G, Reinken LV: Paula Modersohn-Becker, the Letters and Journals, Taplinger; New York 1983, p. 383-84

 * ..you [Otto] know me well enough to know that I am not bad and heartless. It just happen to be a 'Sturm und Drang' period which I have to get through, and there is no way to avoid hurting the people closest to me. It hurts me to cause you all this pain and suffering. Believe me when I say it is not easy for me either. But I must fight it through, to one exit or another – It has begun to be really beautiful here.. .I've seen wonderful Courbet's. I am sorry that he is now the latest mode. I think he is greater than either Manet or Monet. There was a colossal still life [of Courbet] with hollyhocks, in every conceivable colour, with a female figure in it. It was magnificently painted.. .Stay close to Elsbeth and to your art..
 * In a letter from Paris, 9 April 1906, to Otto Modersohn in Worpswede; as quoted in Paula Modersohn-Becker – The Letters and Journals, ed: Günther Busch & Lotten von Reinken; (transl, A. Wensinger & C. Hoey; Taplinger); Publishing Company, New York, 1983, p. 389

 * Night and day I've been most intensely thinking about my painting, and I have been more or less satisfied with everything I've done. I'm slacking a little now, not working as much, and no longer so satisfied. But all in all, I still have a loftier and happier perspective on my art than I did in Worpswede. But it does demand a very, very great deal of me – working and sleeping in the same room with my paintings is a delight.. .When I wake up in the middle of the night, I jump out of bed and look at my work. And in the morning it's the first thing I see..
 * In a letter from Paris, 15 May 1906 to Otto Modersohn in Worpswede; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 204

 * The time is getting closer for you to be coming [to Paula, in Paris]. Now I must ask you for your sake and mine, please spare both of us this time of trial. Let me go, Otto Otto Modersohn. I do not want you as my husband.. ..accept this fact; don't torture yourself any longer.
 * Quote in her Journal, Paris, 3 September, 1906; as quoted in Günter Busch, Liselotte von Reinken (1998) Paula Modersohn-Becker, the Letters and Journals p. 278; as quoted in Stephanie D'Alessandro, Milwaukee Art Museum (2003) German Expressionist Prints, p. 198

 * This past summer I realized that I am not the sort of woman to stand alone in life. Apart from the eternal worries about money, it is precisely the freedom I have had which was able to lure me away from myself. I would so much like to get to the point where I can create something that is me. It is up to the future to determine for us whether I'm acting bravely or not. The main thing now is peace and quiet for my work, and I have that most of all when I am at Otto Modersohn's side.
 * In a letter to her friend Clara Rilke-Westhoff, 17 November 1906; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 206

 * I cannot come back to you. Not yet.. .I do not yet want to have a child by you. I must wait, if it comes again, or if something else comes out of it..
 * quote in a letter from Paris, 1906, to Otto in Worpswede; as quoted in Tromp M, Ravelli AC, Reitsma JB, Bonsel GJ, Mol BW: Increasing maternal age at first pregnancy planning: health outcomes and associated costs. In 'J. Epidemiol Community Health', Dec. 2010, p. 4

 * The review was more a satisfaction to me than a joy. Joy, overpoweringly beautiful moments, comes to an artist without other noticing. The same is true for moments of sadness. That's why it is true that artists live mostly in solitude.. .Otto [Modersohn]  and I shall be coming home [ Worpswede ] again in the spring. That man is touching in his love. We are going to try to buy the Brünjes place in order to make our lives together freer and more open..  .If the dear Lord will allow me once again to create something beautiful, then I shall be happy and satisfied; if only I have a place where I can work in peace. I will be grateful for the portion of love I've received. If one can remain healthy and not die too young..
 * In a letter from Paris, 18 November 1906, to her sister Milly; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 206

 * What I want to produce is something compelling, something full, an excitement and intoxication of color – something powerful. The paintings I did in Paris are too cool, too solitary and empty. They are the reaction to a restless and superficial period in my life and seem to strain for a simple, grand effect. I wanted to conquer Impressionism by trying to forget it. What happened was that it conquered me. We must work with digested and assimilated Impressionism..
 * In a letter to Bernhard Hoetger, from Paris, Summer 1907; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 207

 * My mind has been so much occupied these days by the thought of Cézanne, of how he has been one of the three or four powerful artists who have affected me like a thunderstorm, like some great event. Do you still remember what we saw at Vollard [art-seller in Paris who showed Cézanne's works frequently in his gallery] in 1900? And then, during the final days of my last stay in Paris, those truly astonishing early paintings of his at the Galerie Pellerin. Tell your husband he should see the things there.. .If it were not absolutely necessary [Paula was pregnant] for me to be here right now [Germany], nothing could keep me away from Paris.
 * In a letter from Worpswede, 21 October, 1907, to her friend Clara Rilke-Westhoff; as quoted in Voicing our visions, - Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 208
 * October 1907 Rilke started to write his famous series 'Letters on Cézanne' to his wife Clara Rilke-Westhoff

 * I would like to go to Paris for a week. Fifty-six Cezannes are being shown there!
 * In a letter to her mother, End of October 1907; as quoted in: Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 30

 * Now it's almost as beautiful as Christmas [then Paula suddenly fell to the floor].. ..What a pity! [her last words].
 * as quoted in: Paula Modersohn-Becker, the challenges of pregnancy and the weight of tradition, by Giorgina B. Piccoli and Scott L. Karakas; published in: 'Philosophy, Ethics, and Humanities in Medicine', 6 June 2011, p. 1; as quoted in: M. Bohlmann-Modersohn: Paula Modersohn-Becker: eine Biographie mit Briefen, Albrecht Knaus; Berlin 1995, p. 280
 * Paula had given birth to her (first) child, Mathilde, on 2 November 1907. Her sudden death, on 21 November 1907, due to thromboembolism, occurred almost immediately after she was allowed to leave her bed for the first time following her delivery; her biographers recount that she combed her hair, adorned it with red roses received as presents, and slowly walked to the living room, where her daughter was in her crib. Paula took the young daughter Mathilde (later called Tille) in her arms and fell down, suddenly.

undated quotes

 * We cleave to the past too much in Germany. All of our German art is too bogged down in the conventional.. .I think more highly of a free person who consciously puts convention aside.
 * As quoted in: Norbert Wolf, Uta Grosenick (2004) Expressionism, p. 74

 * I want to give colors intoxication, fullness, excitement, power. By trying to forget Impressionism, I wanted to conquer it. In the process I was conquered. We must work with assimilated, digested Impressionism.
 * As quoted in: Ingo F. Walther (2000) Art of the 20th Century. Part 1, p. 49

Quotes about Paula Modersohn-Becker

 * sorted chronologically, after date of the quotes about Paula Modersohn-Becker

 * [Paula saw Cezanne] as a big brother.. ..an unexpected confirmation of her own artistic quest.
 * Quote of Clara Rilke-Westhoff; as cited in Expressionism, a German intuition, 1905-1920, by Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 30
 * In 1900, during her initial stay in Paris, Paula saw paintings of Paul Cezanne for the first time in her life, when she and Clara Westhoff visited together Vollard's gallery

 * What Paula is doing with her art now does not please me nearly as it used to. She will not accept any advice – it is very foolish and a pity. A huge squandering of her powers.. .She paints life-size nudes, which she can't do, no more than she can paint life-size heads. And in this..  ..she is just as addicted as I used to be about my fairy-tale drawings..  .A great gift for color – but unpainterly and harsh, particularly in her completed figures. She admires primitive pictures, which is very bad for her – she should be looking for artistic paintings. She wants to unite color and form – out of the question, the way she does it. She doesn't like to restrain form – a great mistake..
 * Quote of Otto Modersohn, in his Journal 1903-1906, in Worpswede, 11 December 1905; as cited in Paula Modersohn-Becker – The Letters and Journals, ed: Günther Busch & Lotten von Reinken; (transl, A. Wensinger & C. Hoey; Taplinger); Publishing Company, New York, 1983, p. 377
 * Paula and Otto lived together in Worpswede, North-Germany and had both their own studio in the house

 * For that is what you understood: ripe fruits. You set them before the canvas, in white bowls, and weighed out each one's heaviness with your colors. Women too, you saw, were fruits; and children, molded from inside, into the shapes of their existence. And at last you saw yourself as a fruit, you stepped out of your clothes and brought your naked body before the mirror, you let yourself inside down to your gaze; which stayed in front, immense, and didn't say: 'I am that; no: this is. 'So free of curiosity your gaze had become, so unpossessive, of such true poverty, it had no desire even for your yourself; it wanted nothing: holy.
 * Quote of Rainer Maria Rilke, in his Requiem for a Friend, (translated from the German by Stephen Mitchell)
 * Rilke wrote 'Requiem For a Friend' as a tribute to Paula Modersohn-Becker, who suddenly died eighteen days after giving birth to her first child. Rilke wrote it over two nights, 31 Oct. + 1 Nov. 1908), in Paris, almost a full year after hearing the news of Paula's parting. It was published in 1909

 * 'My feelings can keep developing only in an admiring contemplation of nature,' said Mackensen, the actual founder and leading mind of the [Worpswede artist]-group. In 1897 Paula Becker chose him as her mentor. From her letters and diaries, we learn how deeply she loved the Worpswede countryside, the vast sky, the dark moor, the birch trees by shiny ditches of water, the moor cabins, and the people, marked by living in this world. But few of her paintings are pure landscapes, unlike the genuine Worpsweders [artists made them].
 * In: Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 30

 * Modersohn-Becker's ambition might have been called masculine in earlier times. Going by the number of self-portraits she painted, she certainly had a healthy ego (which Otto complained about). The grave demeanor and large dark eyes of Coptic portraits are especially evident in her self-portraits and paintings of her sister Herma. It is thought that she is the first woman to paint a full-length nude self-portrait and also to paint herself pregnant, and nude, which she did twice - before she was actually expecting.
 * Quote of Roberta Smith, 'Paula Modersohn-Becker and Her Thwarted Ambitions', in ''Art & Design | Art Review, 25 Febrari 2016

 * During her very short life-time, Paula Modersohn-Becker not only enjoyed being with children and even playing child (in a 1903 letter to her husband, she said she looked forward to playing again in the hay with him and Elsbeth), but she, also, truly desired a child of her own. In her diary notation of October 22, 1901, a few months after her marriage, she wrote that three young women in Worpswede were expecting children around Christmas, but that she was not yet ripe and would have to wait a little while. On March 10, 1903, in a letter to her husband from Paris, she wrote that as she fell asleep, she would think lovingly of small children, and that she now felt like a woman, full of expectations, which were quieter and more serious than those she had had when she was a girl. Her longing for a child was so great that in 1906, in her 'Self-Portrait on the Sixth Anniversary of her Wedding', she even portrayed herself as pregnant! Her face is tinged with sadness, she stands naked, her arms encircling her pregnant stomach.
 * Quote of Susan P. Bachrach, in 'Paula Modersohn-Becker (1876-1907) Woman and Artist as Revealed Through Her Depiction of Children', on Fembio - Notable Woman International: Biographies

title: Paula Modersohn-Becker


text:
Lyonel Feininger

Lyonel Charles Feininger (July 17, 1871 – January 13, 1956) was a German-American painter and caricaturist.

Sourced

 * Where I used to strive for movement and restlessness I now attempt to sense and express the complete total calm of objects and the surrounding air.
 * Expressionism by Norbert Wolf, Uta Grosenick (2004), p. 40.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Lyonel Feininger


text:
Alexej von Jawlensky

Alexej Georgewitsch von Jawlensky (March 13, 1864 – March 15, 1941) was a Russian Expressionist painter active in Germany, Munich in the 'Blaue Reiter / Blue Rider' and after 1914 in Switzerland, together with Marianne von Werefkin, many years his life-companion, till 1921.

1900s

 * ..I did a great deal of work [in 1903, Normandy]. And I understood how to transfer nature into colors appropriate to the odor of my soul. I painted a large number of landscapes there, bushes and Breton heads from my window. The pictures were glowing with color. And my inner self was contended.
 * Quote of Jawlensky, c. 1903; as cited by, in Expressionism; Praeger Publishers, New York, 1973, p. 114

 * My friends, the apples that I love for their delightful red, yellow, mauve and green clothing cease to be apples for me when I see them against this or that background, in such or such surroundings.. .And they resound in my sight like a music, reproducing this or that mood of my soul, this or that fleeting contact with the soul of things.. .To reproduce the things which exist without being, to reveal them to other people, by passing them through my sympathetic understanding, by revealing them in the passion I feel for hem, that is the goal of my artistic existence. To me apples, trees, human faces are not more than hints as to what else I should seen in them: the life of colour, comprehended by a passionate lover.
 * Quote of Jawlensky, c. 1903; as cited by, in Expressionism; Praeger Publishers, New York, 1973, p. 115

 * The whole of French art is a matter of seeing Nature as beautiful, very beautiful, in fact. But on the whole this is not enough. You have to create your own Nature – Van Gogh!
 * In: Expressionism: A Revolution in German Art, Dietmer Elger, Taschen, 2002, p. 166
 * Jawlensky is looking back on his encounter with French art through his voyage with Marianne Werefkin to Normandy and Paris, in 1903 when he discovered Van Gogh

 * My paintings [c. 1907] were aglow with colors and so my soul was contended with them.
 * In: Expressionism: A Revolution in German Art, Dietmer Elger, Taschen, 2002, p. 166

1910s

 * His pictures [of Nolde, which Jawlensky met in 1912] remind me of my own in the strength of their expression. I have a passionate love for Nolde and his art.
 * quote of Jawlensky, 1912; as quoted by, in Expressionism; Praeger Publishers, New York, 1973, p. 118

 * I am now mainly painting faces and landscapes; I am obsessed day and night by the vision of faces and colours. And the spiritual vision is my mystical world.
 * Quote of Jawlensky from a letter to his brother Dimitri, c. 1917/18; as cited in Alexej von Jawlensky, Museum Boymans-van-Beuningen, Rotterdam; exhibition catalog 25/9 – 27/11-1994, p. 150

 * ..human faces are for me only suggestions to see something else in them – the life of colour, seized with a lover's passion.
 * Quote of Jawlensky from a letter to his brother Dimitri, circa 1917/18; as cited in Clemens Weiler, op. cit., 1971, p. 12

 * This Spring of 1911 Marianne von Werefkin [his former study-mate in Russia and in fact his life-comapnion for many years, but never married] Andrei, Helene and I went to Prerow on the Baltic [coast]. For me that summer meant a great step forward in my art. I painted my finest landscapes there as well as large figure paintings in powerful, glowing colours and not at all naturalistic or objective. I used a great deal of red, blue, orange, cadmium yellow and chromium-oxide green. My forms were very strongly contoured in Prussian blue, and came with tremendous power from an inner ecstasy. 'Der Buckel', 'Violetter Turban', 'Selbstporträt'..  ..were created in this way. It was a turning-point in my art. It was in these years, up to 1914, just before the war [World War 1.], that I painted my most powerful works, referred to as the pré-war works.
 * Quote c. 1911; in 'Lebenserinnerungen', 1938; as cited in Alexej von Jawlensky, Museum Boymans-van-Beuningen, Rotterdam; exhibition catalog 25/9 – 27/11-1994 (a. o. his life quotes from ['Life Memories'] he dictated late in his life, in 1938)

1930s

 * This acquaintance [with Marianne Werefkin ] would change my life. I became a friend of hers, of this clever woman gifted with genius.
 * from his memoirs, 1936/41: in Lebenserinnerungen (Memories), Alexej Jawlensky - Köpfe-GesichteMeditationen (Heads-Faces-Meditations), ed. Clemens Weiler (Hanau: H. Peters, 1970), p. 106

 * We had a very lovely place [in Ascona with his life-companion Marianne Werefkin ] with a garden directly on the lake. It was on the edge of Ascona. Next to it began the Campagna [landscape], and this Campagna was enchantingly beautiful, like a dream.
 * quote from Jawlensky's memoirs, 1936/41: Lebenserinnerungen (Memories) p. 119; as cited in Exile, the Avant-Garde, and Dada: Women Artists Active in Switzerland during the First World War, by Isabel Wünsche, p. 66
 * Jawlensky was very pleased with this move from Zurich to Ascona; Werefkin arranged this family's move after Jawlensky fell gravely ill with the Spanish flu. A few years later Jawlensky would leave here.

 * Perhaps you have heard that Baroness Werefkin died in February. It was a great blow to me. Yes, indeed, sooner or later we have to pay for our mistakes once made. And often so severely.
 * Quote of Jawlensky's letter, 12 June, 1938 to P. Willibrord Verkade, as cited in Leben und Werk, 1860- 1938, Bernd Fäthke, Prestel Verlag, 1980, ISBN 9783791308869, as cited on on the website Fembio, by Luise F. Pusch - transl. Joey Horsley, p. 19

 * 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.
 * In his letter, 12 June, 1938 to P. Willibrord Verkade, as quoted in Alexej von Jawlensky, der Maler und Mensch, Clemens Weiler; Wiesbaden 1955, pp. 39 ff

 * I painted these 'Variations' [of landscapes] for some years and then I found it necessary to find form for the face, because I had come to understand that great art can only be painted with religious feeling. And that, I could only bring to the human face. I understood that the artist must express through his art, in forms and colours, the divine in him. Therefore a work of art is God made visible and art is 'a longing for God'. I painted 'faces' for many years. I sat in my studio and painted, and I did not need nature to prompt me. It was enough for me to immerse myself in myself, to pray and prepare my soul to attain a religious state..
 * In a letter to the Dutch Fauvist painter Father Verkade, 12 June 1938; as quoted in Alexej Jawlensky, Jürgen Schultze; M. DuMont Schauberg, Cologne 1970, p. 39

 * So the years passed and I worked a great deal. And then I became ill and although I could still work, despite the fact that my hands became more and more rigid. I could no longer pick up the paintbrush and had to use both hands to do so, always with a great deal of pain. The format of my works became very small, and I also had to find a new technique. For three years I painted these small heads like a man possessed. Then I realized that I would soon have to stop working entirely: and that's what happened, too!
 * In a letter to the Dutch Fauvist painter Father Verkade, 12 June 1938; as quoted in Alexej Jawlensky, Jürgen Schultze; M. DuMont Schauberg, Cologne 1970, p. 54

'Life Memories' (1938)
Alexej von Jawlensky, Museum Boymans-van-Beuningen, Rotterdam; exhibition catalog 25/9 – 27/11-1994 (a. o. from 'Lebenserinnerungen' ['Life Memories'] which Jawlensky dictated late in his life, in 1938 )

 * I was taken to see the World Exhibition in Moscow [in 1880]. I found it all very boring. But when I came to a section devoted to art – there were only paintings, and this was the first time of my life [Jawlensky was 16 years old] I had seen paintings – I was so deeply affected that it was a case of Saul becoming Paul. It was the turning point of my life. Even since then art has been my ideal, my holy of holiest, that for which my entire soul and my entire self yearn.
 * p. 20
 * from: 'Lebenserinnerungen', 1938

 * From then on [1880] I used to go to the Tretyakov Gallery [in Moscow] every Sunday, arriving very early and staying there without eating until closing time at three o'clock. It was a tremendous experience for me, like going to church. Indeed, I felt as if I were in a temple.
 * p.274
 * from: his Memories, in 'Catalogue Raisonné of the oil Paintings', ed. Maria Jawlensky, Angelica Jawlensky and Lucia Pieroni-Jawlensky; published resp. in 1991, 1992, 1993

 * Since 1929 I have suffered from an extremely painful disease [arthritis deformans] which gets worse every year. Little by little my arms and hands have become stiff and bent and I have terrible pain. This stiffness in my elbows and wrists has tremendously hindered my painting and I have had to find a new technique. My art in the last period has all been in small format, but my paintings have become even deeper and more spiritual..
 * p. 23
 * from: 'Lebenserinnerungen', 1938

 * Every artist works within a tradition. I am a native of Russia. My Russian soul has always been close to the art of old Russia, the Russian icons, Byzantine art, the mosaics in Ravenna, Venice, Rome, and to Romanesque art. All these artworks produced a religious vibration in my soul, as I sensed in them a deep spiritual language. This art was my tradition.
 * p. 24
 * quote from his letter to the National Socialist State Cultural administration, 1939; Jawlensky asked permission to exhibit his painting art, which was turned down by the Nazi regime

 * At first I intended to carry on working in Saint-Prex [in Switzerland, circa 1914 – 1915] in the same way I had been working in Munich [the location of his Blaue Reiter / Blue Rider period]. But something inside me prevented me from painting colourful, sensuous pictures. Suffering had changed my soul, telling me to find other forms and colours to express what was on my mind.
 * p. 149
 * from: 'Köpfe, Gesichte, Meditationen', Clemens Weiler

 * 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.
 * p. 186
 * from: 'Lebenserinnerungen', 1938

 * I sat in my studio and painted, and did not need Nature as a prompter [is after 1921, when he painted the series 'Abstrakter Kopf' / 'Abstract Head'.] I only had to immerse myself in myself, pray, and prepare my soul to a state of religious awareness. I painted many, many 'Faces'.
 * p. 186
 * from: 'Lebenserinnerungen', 1938

 * It was very tiny, our house [ St. Prex ], and I had no room for my own, only a window, which I could call mine. But I was so gloomy and unhappy in my soul after all those dreadful experiences, that I was quite content to sit at the window and quietly collect my thoughts and feelings. I had a bit of paint but no easel, so I went into Lausanne – twenty minutes on the train – and bought a small easel from a photographer.. .It was highly unsuitable for painting but for more than twenty years I have painted my best work on that little easel [in mainly small sizes].
 * p. 186
 * from: 'Lebenserinnerungen', 1938
 * This small house was in St. Prex, in Switzerland, lake Genova, where Jawlensky concentrated himself on the view around his house in the years after 1914.. ..he painted here more than 400 'Variations on a landscape theme', in St. Prex

 * My art in the last period has all been in small format, but my paintings have become even deeper and more spiritual, speaking purely through colour.. .And now I leave these small – but to me – important works to the future and to the people who love art.
 * p. 249
 * from: 'Lebenserinnerungen', 1938 - after 1937 Jawlensky couldn't paint any longer because of severe arthritis

 * When we had been in Ashenstovo [1873, located near the Prussian border]] a few days my mother took us children to see a famous Polish church, Kostjol, famous for its miraculous Madonna icon. This icon had three precious coats, one of gold, one of coral and one with pearls and diamonds..  .Many peasant men and women were were lying prostrate on the floor as if crucified, with their arms outstretched. It was very quiet. Suddenly a great blare of trumpets shattered the silence. Terribly frightened I saw the gold curtain open and the Madonna appear wearing a gold robe.
 * p.274
 * from his 'Memories', in 'Catalogue Raisonné of the oil Paintings', ed. Maria Jawlensky, Angelica Jawlensky and Lucia Pieroni-Jawlensky; published resp. in 1991, 1992, 1993

Quotes about Alexej von Jawlensky

 * (Ich kann nicht Deutsch schreiben oder sprechen)... I can't speak or write German, but I'am overjoyed because I have bought one of your pictures. Now it is in me. I write music. You are my teacher.
 * John Cage, in a letter, early February 1935; as cited in 'The shape of the Future 3: Art'; in: Where the Heart Beats: John Cage, Zen Buddhism, and the Inner Life of Artists, Kay Larson, Penguin 2012, p. unknown
 * Cage bought one of the small 'Head' paintings of Jawlensky via his art-agent in the U.S. Galka E. Scheyer who showed him some paintings of Jawlensky, early 1935. She sold Cage's choice very cheap for 25 dollars. He was 25 years old and strongly inspired by images, as he told Scheyer and wrote Jawlensky

 * Frankly, I think there is something wrong with Jawlensky's dots [in his paintings, then]. Anybody can pick up that style if they want to.
 * Wassily Kandinsky, c 1903; as cited by, in Expressionism; Praeger Publishers, New York, 1973, p. 114

 * Although Marianne von Werefkin remained active in the avant-garde art community [in Munich], she took a ten-year hiatus from painting between 1896 and 1906. The break in artistic production has been traditionally attributed to the attention she gave to advancing Jawlensky's career, but it is also apparent that she needed the time to develop a new artistic language, as she moved away from the Realist style which had dominated her work in Russia.
 * Adrienne Kochmann, in Ambiguity of Home: Identity and Reminiscence in Marianne Werefkin's Return Home, c. 1909;

 * They [ Kandinsky, Jawlensky and Klee, in their Der Blaue Reiter-period till 1914] were constantly arguing about art and each of them, at first, had his own ideas and his own style. Jawlensky was far less intellectual than Kandinsky or Klee and was often frankly puzzled by their theories. My 1908 portrait entitled 'Zuhören' ['Listening'] actually represents Jawlensky, with an expression of puzzled astonishment on his chubby face, listening to Kandinsky’s new theories of art.
 * Gabriele Münter in a late interview 1958; as cited in Dialogues – conversations with European Artists at Mid-century, Edouard Roditi, Lund Humphries Publishers Ltd, London, 1990, p. 117

 * ..we parted in 1914, when Kandinsky, being an enemy alien [because of the outbreak of World War 1. - he had a Russian nationality], had to flee from Germany to Switzerland, as did Jawlensky and Marianne von Werefkin too [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. Marc and Macke had both been killed [World War 1.], Kandinsky, Jawlensky and Marianne were no longer here..
 * Gabriele Münter in a late interview, 1958; as quoted in 'Dialogues – conversations with European Artists at Mid-century' Edouard Roditi, Lund Humphries Publishers Ltd, London, 1990, p. 121

 * Yes, we [= Marianne von Werefkin and Gabriele Münter shared very much the same tastes and ideas, when we lived together in this house (the 'Russian house' in Murnau]. She was extremely perceptive and intelligent, but Jawlensky (Marianne's husband', but not married] didn't always approve of her work.. .Suddenly Jawlensky would pick on some tiny detail of one of Marianne’s best and most original pictures and exclaim: 'That patch of color, there, is laid on much too flat and smoothly. It's just like old Riepin [Russian painter Ilya Repin], and former art teacher of them both]. Of course it was nonsense and he was only saying it to annoy her. But Jawlensky really was a devotee of the 'touche de peinture' of the French [[Fauvism|Fauvists, rather than an innovator - a believer in a new kind of art of the future.
 * Gabriele Münter in a late interview 1958; as quoted in 'Dialogues – conversations with European Artists at Mid-century' Edouard Roditi, Lund Humphries Publishers Ltd, London, 1990, p. 118-119

 * 'You are' the painter of the human soul. I know of no other modern painter of the human soul.
 * Galka E. Scheyer, in a letter to Jawlensky after 1927; as cited from the 'Introduction' of 'Memories of my sick hands' Zeidler Zeidler H. Rheumatol. 2011 Jun;70(4):336-57 H. Rheumatol. 2011 Jun;70(4):336-57
 * Galka E. Scheyer promoted Jawlensky's art; later she became in the U.S. an important art-agent for more Blaue Reiter-artists

 * I shall never forget those inspiring days when you initiated me into the sacred world of art. I shall never forget you really did make me what I am today.
 * Galka E. Scheyer, in her letter from the U.S., 13 July, 1936; in Wünsche, p. 63; as cited by Darcy Tell in 'The Art Lover: Galka Scheyer's Higher Calling', 2 Dec. 2010,

 * When people.. ..look into their souls, your work [will] be prophetic for them..  ..since life works from the inner to the outer and not the other way around.
 * Galka E. Scheyer in a letter to Jawlensky, 1940; as quoted in 'The Art Lover: Galka Scheyer's Higher Calling', by Darcy Tell

 * For four years already we sleep together. I remained a virgin, he [Jawlensky] became a virgin again. Between us sleeps our child - Art. It is the child who ensures our undisturbed sleep. Carnal desire has never once befouled our bed. We both want to remain unsullied, so that not a single impure thought could ever disturb the calm of our nights when we are so close to each other. And yet we love each other. Since we exchanged declarations of love many years ago we have not kissed once even for form's sake. He is everything for me, I love him as a mother, especially as a mother, as a friend, a sister, a wife, I love him as an artist and a friend. I am not his mistress and my tenderness has never had a passionate turn. Because of his love for me, he became a monk. He loves in me his art, and without me he'll die — and he has never enjoyed me as a woman.
 * Marianne Werefkin, late 1880's; as cited in Lettres a un inconnu: Aux sources de l'expressionnisme, ed. Gabrielle Dufour-Kowalska. Klincksieck, 1999. pp. 75-77 (Notebook I, pp. 29-30)

 * Three years [c. 1892-1895] passed in indefatigable care of his [Jawlensky's] mind and heart. Everything, everything that he received from me I pretended to take – everything that I poured into him I pretended to receive … so that he wouldn't feel jealous as an artist, I hid my art from him.
 * Marianne Werefkin, 1890's; as cited in Leben und Werk, 1860 - 1938, Bernd Fäthke, Prestel Verlag, 1980, ISBN 9783791308869; as quoted in 'BIOGRAPHY, Marianne Werefkin' website Fembio, by Luise F. Pusch; transl. Joey Horsley

 * Here on our peninsula of Darss, we [ Marianne Werefkin and Jawlensky] still feel like we're on an expedition in search of provisions and artistic inspiration. Neither is to be found here. But there is an endless and splendid beach, delightful air, a sense of unlimited informality and weather unknown to us from our dear Bavaria: no thunderstorms, no steady rains, no cloudbursts. If Helen [the maid] can find the genius to cook something out of nothing, and we [Jawlensky and Marianne] to paint from nothing - then Prerow won't be half bad, provided that all remain healthy.
 * Marianne Werefkin, in her letter to Franz and Maria Marc, from OstSeebad Prerov, Baltic Sea, to Munich, 1911; as cited in Marianne Werefkin in Prerow, 1911: The Periphery as Focus, on the website Fembio, by Kornelia Röder and Antonia Napp - p. 45
 * This 'break' from Munich at the Baltic sea meant for both painters an important period with strong later consequences in their painting-styles

 * We [Marianne and Jawlensky] are living out in the country, in a house so small, that one can hardly turn around. Despite all we work both, since we have our colors and paint again.
 * Marianne Werefkin, in her letter to Herwarth Walden, from St Prex, Switzerland, May 28, 1915; Sturm-Archiv, Staatsbibliothek Berlin; as cited in Exile, the Avant-Garde, and Dada: Women Artists Active in Switzerland during the First World War, by Isabel Wünsche, p. 49
 * Marianne Werefkin and Alexei Jawlensky, (living together in Munich till 1914), were classified as enemy aliens (both had the Russian nationality) and forced to leave Germany immediately at the outbreak of the World War I. They were able to rent a small apartment in St. Prex in Switzerland, a small fishermen's village on Lake Geneva

 * Why do you [= Marianne von Werefkin, herself] no longer work? Why work again? Faith has left me – the habit of putting myself into the background, has done the rest. Am I a true artist? Yes, yes, yes. Am I a woman? Alas. Yes, yes, yes. Are the two [Jawlensky and she] able to work as a pair? No, no, no. Who will take up the desires -?.. .The work of my life, this talent [her love Jawlensky] that I protect with all my interest, with all my affection, it must be alone in the dwelling. Reason says, calm yourself. But the great passion in me, and my call to work, destroys all the calm acquisitions of my life.
 * Marianne von Werefkin, in her writings 'Lettres à un Inconnu, 1901 – 1905', Vol 1 'My beautiful One, My Unique!', Marianne von Werefkin, Museo Communale, Ascona; as quoted in Voicing our visions, - Writings by women artists, ed. by Mara R. Witzling, Universe New York, 1991, p. 132

 * Oh 'my dear friend' [Jawlensky / 'The Unknown', in her Letters], you whose voice called me towards my beautiful past, oh how I love you because you are young, you serve the idea, you understand the beauty of a life devoted completely to abstraction. Oh the devil you have done me, and the good of this devil. There is an atrocious page in my existence.. .I am not a woman. Neither love nor the family satisfies me. I don't like the baby. I detest the household. I love all works of the human genius, I adore art the beauties of nature and of the heart. The beautiful, the beautiful in all such as love and such as life.
 * Marianne von Werefkin, in her writings Lettres à un Inconnu, 1901 – 1905, Vol 1 'My beautiful One, My Unique!', Marianne von Werefkin, Museo Communale, Ascona; as quoted in "Voicing our visions, -Writings by women artists", ed. by Mara R. Witzling, Universe New York, 1991, p. 132

title: Alexej von Jawlensky


text:
Talk:Tenzin Gyatso, 14th Dalai Lama

Misattribution
It looks like someone added the section below, 'Instructions for Life' then wrote the following in this 'discussion':

''"Instructions for life" section is based on an email chain hoax - not the dalai lama as far as I know... Also, any citations?''

I then moved the section here.

Instructions for Life

 * These statements were falsely attributed to the Dalai Lama in an email hoax. They actually derive from advice in Life's Little Instruction Book: 511 suggestions, observations, and reminders on how to live a happy and rewarding life (1991) by H. Jackson Brown, Jr; More information is available on the hoax at

 * 1) Take into account that great love and great achievements involve great risk.
 * 2) When you lose, don't lose the lesson.
 * 3) Follow the three Rs: Respect for self, Respect for others and Responsibility for all your actions.
 * 4) Remember that not getting what you want is sometimes a wonderful stroke of luck.
 * 5) Learn the rules so you know how to break them properly.
 * 6) Don't let a little dispute injure a great friendship.
 * 7) When you realize you've made a mistake, take immediate steps to correct it.
 * 8) Spend some time alone every day.
 * 9) Open your arms to change, but don't let go of your values.
 * 10) Remember that silence is sometimes the best answer.
 * 11) Live a good, honorable life. Then when you get older and think back, you'll be able to enjoy it a second time.
 * 12) In disagreements with loved ones, deal only with the current situation. Don't bring up the past.
 * 13) Share your knowledge. It's a way to achieve immortality.
 * 14) Be gentle with the earth.
 * 15) Once a year, go someplace you've never been before.
 * 16) Remember that the best relationship is one in which your love for each other exceeds your need for each other.
 * 17) Judge your success by what you had to give up in order to get it.
 * 18) Approach love and cooking with reckless abandon.

Unsourced
Wikiquote no longer allows unsourced quotations, and they are in process of being removed from our pages (see Wikiquote:Limits on quotations); but if you can provide a reliable and precise source for any quote on this list please move it to Tenzin Gyatso, 14th Dalai Lama. --Antiquary 20:11, 4 March 2009 (UTC)

 * Just as rust, which arose from the iron itself, wears out the iron, likewise, performing an action without examination would destroy us by projecting us into a negative state of existence.

 * Spiritual practice is difficult in the beginning. You wonder how on earth you can ever do it. But as you get used to it, the practice gradually becomes easier. Do not be too stubborn or push yourself too hard. If you practice in accord with your individual capacity, little by little you will find more pleasure and joy in it. As you gain inner strength, your positive actions will gain in profundity and scope.

 * The real enemy is not outside, but inside. ... External enemies are not permanent; if you respect him, the enemy will become your friend. But there is one enemy who is always an enemy, whom you should never compromise, that is the enemy inside your heart. You cannot change all these bad thoughts into your friend, but you have to confront and control them.

 * When others insult, rebuke and speak unpleasant words to us, although an intolerable pain arises like a thorn at the heart, if we comprehend the teachings then we can recognize the essenceless nature of these words which resemble an echo. So just as when an inanimate object is scolded, we will experience not the slightest mental turmoil.

 * You should respect other religions... the essence of all religions is basically the same: to achieve a true sense of brotherhood, a good heart, respect for others. If we can develop these qualities from within our heart, then I think we can actually achieve true peace.
 * Message on his first visit to the West in (1973)

 * There is a saying in Tibetan – ‘tragedy should be utilized as a source of strength’. No matter what sort of difficulties, how painful an experience is, if we lose our hope, that’s our real disaster.

 * All heart and no brain — useless. All brain and no heart — dangerous.

Comment: I found a similar text from a book called Alter, L. D. (2015). TOMORROW IS TODAY, A behavior modification methodology, guide, and workbook to manage the job search process: The complete guide for getting and keeping your next job and advancing your career. (L.D.A. Enterprises) (16th edition). Saint Louise Park, MN: The Employment Clinic. Salvestatud https://books.google.ee/books?id=JF2hCQAAQBAJ page 97. So I am not sure it is an original text from Dalai Lama.
 * "When you talk, you are only repeating what you already know. But if you listen, you may learn something new."

 * "Be kind whenever possible. It is always possible."

probable misattributions

 * Man, because he sacrifices health in order to make money. Then he sacrifices money to recuperate health. And then he is so anxious about the future that he does not enjoy the present; the result being that he does not live in the present or the future; he lives as if he is never going to die, and then he dies having never really lived.
 * The Dalai Lama, supposedly, when asked what 'surprises him the most' — this seems derived from the work of an unknown author circulated as "An Interview with God…"

According to the following sources, this quote may have been originated by James J. Lachard (Jim Brown) in a poem he wrote entitled, "I dreamed I had an interview with God." The poem may not have been formally published. The quote stated above has been changed from the original, which can be found on at least two of the links below.

https://www.goodreads.com/quotes/525471-man-surprised-me-most-about-humanity-because-he-sacrifices-his https://centerforgloballeadership.wordpress.com/2012/06/30/an-interview-with-god-i-stand-corrected/ https://cascadianwanderer.wordpress.com/2014/07/29/the-dalai-lama-is-jim-brown/

dubious

 * Our main purpose in life is to help others. And if you can't help them, at least don't hurt them. Widely circulated; attributed in Words of Wisdom (William Safire & Douglas Safir, 1990), but without a source. I could find no earlier attribution online. --Dhartung (talk) 21:18, 16 July 2012 (UTC)

(Buscaglia’s talk “speaking of love” includes this quote from the Dali Lama as well).

== Does anyone know anything about Info-Buddhism.com? I find is strange that a web publication doesn't list a specific day for speaking with a religious leader, only the month it happened, and that they, not the news got an interview at all seems suspicious. ==

Interview with the Dalai Lama about the Full Ordination of Women
(interviewed by Buddhismus Aktuell, translation by Michaela Doepke, Info-Budhism.com, (01/2011).
 * According to our tradition, the ordination of a bhikṣuṇī must be carried out by a bhikṣuṇī preceptor, and since a Mūlasarvāstivāda bhikṣuṇī preceptor is not available, according to our tradition the bestowal of ordination stopped. This is the problem. During the last thirty years we examined whether there are some exceptions to this. Some scholars say an exception is possible but the majority still says “no”. I have no power according to Vinaya (laughing). According to Vinaya, the final decision must be made by a saṅgha—a group of monks—not by a single monk. I think here we have to “complain” a little bit to the Buddha himself. While he was alive, he was the final authority; it was in his own hands. When he passed away, he didn’t give final authority to a single person, but to a group of monks. That is the problem now.
 * Twenty or thirty years ago, a journalist from a French women’s magazine asked me this question for the first time. Can the Dalai Lama’s incarnation be female in the future? I say, yes, because firstly, there are already high female reincarnations among Tibetan lamas. For example Samding Dorje Phagmo is an incarnation tradition which has existed, I think for seven or eight hundred years. That reincarnation lineage is almost as old as that of the Karmapa, I think it must have begun around the time of Lama Tsongkhapa. In our time there are high female lamas as well. Yes, we accept female gurus, female teachers. The purpose of a reincarnation lineage is to serve people through the Dharma, and if the circumstances are such that a female form is more useful, then why not? I mentioned that to the French journalist. I also said half-jokingly that if the Dalai Lama’s reincarnation is female, she must be very attractive. The reason is so that she will have more influence on others. If she is an ugly female, she won’t be very effective, will she? What do you think? (laughs). Good! Thank you very much!

Given the importance of the person being interviewed and how little is known about the publication, I think this needs looking into before being added to anything outside the attributed quotes section. From the Dalai Lama's website, "His Holiness also takes the opportunity to interact with members of the media. As there are many requests for private audiences we try to limit media interviews to one during an audience day.  Members of the media need to submit their requests far in advance to provide time for their review by a Special Review Committee and if approved for scheduling." Also that Info-Buddhism is about Tibetan Buddhism and not really Buddhism in general is a bit misleading. CensoredScribe (talk) 18:30, 8 February 2017 (UTC)

Wikipedia cites Info-Buddhism as well on the page for the, and according to the telegraph the Dalai Lama did say at the start of a 10-day visit to Italy, (07 Dec 2007), "If a woman reveals herself as more useful the lama could very well be reincarnated in this form", which can be added. Someone should point this out at wikipedia, I don't want to add another sockpuppet to the complete list I've provided on my user page. My apologies. CensoredScribe (talk) 03:20, 9 February 2017 (UTC)

Is the "two days in the year that nothing can be done" quote legitimate? Can it be added?
“There are only two days in the year that nothing can be done. One is called Yesterday and the other is called Tomorrow. Today is the right day to Love, Believe, Do and mostly Live.”

BananaBaron (talk) 07:36, 1 June 2017 (UTC)

title: Talk:Tenzin Gyatso, 14th Dalai Lama


text:
User talk:Yledent

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title: User talk:Yledent


text: Category:United States

title: Category:United States


text:
Georgia (U.S. state)

Georgia is a state located in the southern United States. It is bordered by Tennessee and North Carolina to the north, South Carolina to the northeast, Florida to the south, and Alabama to the east.

Georgia was one of the Thirteen Colonies that revolted against British rule in the American Revolutionary War. It was the last of the Thirteen Colonies to be established as a colony. It was the fourth state to ratify the United States Constitution, on January 2, 1788. Georgia was a slave state, and later joined the Confederate States of America during the American Civil War. It was reoccupied by the Union after a scorched-earth campaign by General William Tecumseh Sherman.

Its state government is currently controlled by the Republican Party, and its current governor is Brian Kemp.

Quotes

B

 * Georgia has prospered because we have refused to be divided. We have worked together, and the nation and the world have taken notice. We are where we are today, the envy of other states, because decades ago our leaders accepted change while others defied it. In the long run, it has paid us handsome dividends.
 * Roy Barnes, speech to the Georgian House of Representatives (24 January 2001)

 * Our people do not need to bleed the color of red Georgia clay.
 * Roy Barnes, speech to the Georgian House of Representatives (24 January 2001)

 * We have a great deal to be proud of as Georgians. Our history, our heritage, our state's great natural beauty. But, nothing should make us prouder than the way Georgia has led the South by focusing on the things that unite us instead of dwelling on those that divide us.
 * Roy Barnes, speech to the Georgian House of Representatives (24 January 2001)

 * What will be the result to the institution of slavery, which will follow submission to the inauguration and administration of Mister Lincoln as the President of one section of the Union? My candid opinion is, that it will be the total abolition of slavery... I do not doubt, therefore, that submission to the administration of Mister Lincoln will result in the final abolition of slavery. If we fail to resist now, we will never again have the strength to resist.
 * Joseph Brown, letter (7 December 1860), as quoted in Secession Debated, pp. 145–159

C

 * Atlanta is one of the world's most peculiar cities. It has the requisite pointy skyscrapers and if you ask for a small Coke in a Taco Bell, it still comes in a bucket. This is America.
 * Jeremy Clarkson, Born to be Riled (1999), p. 196

 * Where Gladys Knight took the Midnight Train; the birthplace of Martin Luther King.
 * Darion Crawford, "Georgia" (9 October 2005), Light Poles and Pine Trees (20 June 2006), New York City: Geffen Records.

 * Georgia, where the peaches grow. They drink lemonade and speak real slow.
 * Richard B. Cronin, "Summer Girls" (1999), LFO, Arista Records

D

 * The town in Georgia's got a law on the books / Says if we all got guns then we won't have crooks / Now what could make them think that way?
 * The Dead Milkmen, “Right Wing Pigeons“, Big Lizard in My Backyard (1985)

 * I do not think we have to discriminate against anyone to protect the faith based community in Georgia of which my family and I are a part of for all of our lives.
 * Nathan Deal, remarks on HB 757 (March 2016)

 * If now you young people, instead of running away from the battle here in Carolina, Georgia, Alabama, Louisiana and Mississippi, instead of seeking freedom and opportunity in Chicago and New York—which do spell opportunity—nevertheless grit your teeth and make up your minds to fight it out right here if it takes every day of your lives and the lives of your children’s children; if you do this, you must in meetings like this ask yourselves what does the fight mean? How can it be carried on? What are the best tools, arms, and methods? And where does it lead? I should be the last to insist that the uplift of mankind never calls for force and death. There are times, as both you and I know, when "Tho’ love repine and reason chafe, There came a voice without reply, ‘Tis man’s perdition to be safe, When for truth he ought to die."
 * W. E. B. Du Bois, "Behold the Land" 20 October 1946

 * “Behold the beautiful land which the Lord thy God hath given thee.” Behold the land, the rich and resourceful land, from which for a hundred years its best elements have been running away, its youth and hope, black and white, scurrying North because they are afraid of each other, and dare not face a future of equal, independent, upstanding human beings, in a real and not a sham democracy. To rescue this land, in this way, calls for the Great Sacrifice. This is the thing that you are called upon to do because it is the right thing to do. Because you are embarked upon a great and holy crusade, the emancipation of mankind, black and white; the upbuilding of democracy; the breaking down, particularly here in the South, of forces of evil represented by race prejudice in South Carolina; by lynching in Georgia; by disfranchisement in Mississippi; by ignorance in Louisiana and by all these and monopoly of wealth in the whole South. There could be no more splendid vocation beckoning to the youth of the twentieth century, after the flat failures of white civilization, after the flamboyant establishment of an industrial system which creates poverty and the children of poverty which are ignorance and disease and crime; after the crazy boasting of a white culture that finally ended in wars which ruined civilization in the whole world; in the midst of allied peoples who have yelled about democracy and never practiced it either in the British Empire or in the American Commonwealth or in South Carolina.
 * W. E. B. Du Bois, "Behold the Land," 20 October 1946

G

 * Defendant Donald John Trump lost the United States presidential election held on November 3, 2020. One of the states he lost was Georgia. Trump and the other Defendants charged in this Indictment refused to accept that Trump lost, and they knowingly and willfully joined a conspiracy to unlawfully change the outcome of the election in favor of Trump. That conspiracy contained a common plan and purpose to commit two or more acts of racketeering activity in Fulton County, Georgia, elsewhere in the State of Georgia, and in other states.
 * The State of Georgia v. Donald J. Trump, et al.

 * More than a century ago, the legendary muckraking African American journalist Ida B. Wells risked her life when she began reporting on the epidemic of lynchings in the Deep South...She wrote: Georgia heads the list of lynching states." Some things never change: the American Bar Association has singled out Georgia's racial disparities in capital-offense sentencing, saying that it has allowed inadequate defense counsel and been "virtually alone in not providing indigent defendants sentenced to death with counsel for state habeas proceedings."
 * Amy Goodman Democracy Now!: Twenty Years Covering the Movements Changing America (2017) p 156

 * Other arms reach out to me Other eyes smile tenderly Still in peaceful dreams I see The road leads back to you. Georgia, oh Georgia, no peace I find... Just an old sweet song Keeps Georgia on my mind.
 * "Georgia On My Mind" (1960), lyrics by Stuart Gorrell and Hoagy Carmichael

 * The people of Georgia having dissolved their political connection with the Government of the United States of America, present to their confederates, and the world, the causes which have led to the separation. For the last ten years we have had numerous and serious causes of complaint against our non-slaveholding confederate States, with reference to the subject of African slavery... The party of Lincoln, called the Republican party, under its present name and organization is of recent origin. It is admitted to be an anti-slavery party, while it attracts to itself by its creed, the scattered advocates of exploded political heresies, of condemned theories in political economy, the advocates of commercial restrictions, of protection, of special privileges, of waste and corruption in the administration of Government; anti-slavery is its mission and its purpose.
 * Georgia Declaration of Causes of Secession (January 1861)

 * When no candidate receives a majority of votes in the general election, a runoff between the top two vote-getters is required. The runoff election will be Tuesday, December 6, 2022. Statewide, voters will decide between incumbent Sen. Raphael Warnock and his challenger Herschel Walker for U.S. Senate. Some counties have down-ticket races as well. CHECK YOUR VOTING STATUS
 * georgia.gov Georgia Election 2022 (Runoff) (2022)

 * Social equality is impossible. The schools are not going to be mixed, come hell or high water.
 * Samuel Marvin Griffin, Sr., as quoted in "The Strategists" (12 July 1954), Time

H

 * Started in Atlanta, then I spread out with it. South Carolina, Alabama, Mississippi. On to North Carolina, Philadelphia, and Virginia. From down in Miami where it's warm in the winter. On up to Minnesota where it storms in the winter.
 * Clifford Harris, "We Takin' Over"

 * The presidential election of 1864, occurring after the spectacular Union military successes at Mobile Bay and in Georgia and the Shenandoah Valley, reaffirmed the northern majority's commitment to the suppression of the rebellion in the South and the restoration of the Union without slavery. Arguably, Abraham Lincoln's victory owed more to the Northern rejection of the Democratic Party's war-failure platform and its call for an armistice preparatory to a national peace convention than to the voters' confidence in the president's leadership.
 * William Harris, as quoted in "The Hampton Roads Peace Conference: A Final Test of Lincoln's Presidential Leadership" (2000), Journal of the Abraham Lincoln Association, pp. 30-61

 * The three States of Georgia, Florida and South Carolina, comprising the military department of the south, having deliberately declared themselves no longer under the protection of the United States of America, and having taken up arms against the said United States, it becomes a military necessity to declare them under martial law. This was accordingly done on the 25th day of April, 1862. Slavery and martial law in a free country are altogether incompatible; the persons in these three States — Georgia, Florida, and South Carolina— heretofore held as slaves, are therefore declared forever free.
 * David Hunter, General Order No. 11 (9 May 1862), Department of the South

K

 * I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow jail cells. And some of you have come from areas where your quest -- quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering. Continue to work with the faith that unearned suffering is redemptive. Go back to Mississippi, go back to Alabama, go back to South Carolina, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed. Let us not wallow in the valley of despair, I say to you today, my friends. And so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed: "We hold these truths to be self-evident, that all men are created equal." I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood. I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice. I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character. I have a dream today! I have a dream that one day, down in Alabama, with its vicious racists, with its governor having his lips dripping with the words of "interposition" and "nullification" -- one day right there in Alabama little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers. I have a dream today! I have a dream that one day every valley shall be exalted, and every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight; "and the glory of the Lord shall be revealed and all flesh shall see it together." This is our hope, and this is the faith that I go back to the South with.
 * Martin Luther King Jr., I Have a Dream speech (1963)
 * Let freedom ring from Stone Mountain of Georgia!
 * Martin Luther King, Jr., "I Have A Dream" (1963), Washington, D.C.

J

 * We're on the grind in Georgia, all the time. It ain't nothing no my mind, but Georgia.
 * Shawn T. Johnson, "Georgia" (9 October 2005), Light Poles and Pine Trees (20 June 2006), New York City: Geffen Records

M

 * Calling up my homeboy, Daddy Ray. Hey Ray, what's up with the girls in GA?
 * Sir Mix-a-Lot, "Jump on It" (1996), Return of the Bumpasaurus, Sony/ATV Music Publishing LLC, Universal Music Publishing Group, Kobalt Music Publishing Ltd., Regent Music Corporation

S

 * In 1956, as a reaction to the requirement to integrate, the Georgia Assembly changed the state flag to incorporate the Confederate Battle Flag. As Denmark Groover, the legislator who guided the bill to passage, said at the time, "The Confederate symbol was added mostly out of defiance to federal integration orders." While I lived in Georgia, the white supremacist Confederate Battle Flag dominated the state flag. In 2003, Georgia changed its flag, losing the Confederate Battle Flag and returning to a version of the flag first introduced in 1879. The current flag is an homage to the first Confederate national flag, the Stars and Bars. White southerners continue to focus on a four-year period when they fought a rebellion to create a slave republic and lost badly.
 * Ty Seidule, Robert E. Lee and Me: A Southerner's Reckoning with the Myth of the Lost Cause (2020), p. 81

 * While lynch mobs in Virginia murdered 84 people according to exhaustive reporting done by the Equal Justice Initiative, my adopted home state of Georgia was far more violent. Georgia lynch mobs murdered 589 people between 1877 and 1950. Most of the attacks in Northern Virginia and Walton County came after accusations of Black men raping white women. Several lynchings occurred because African American men did not act in a docile manner, upsetting the racial conventions demanded by white society.
 * Ty Seidule, Robert E. Lee and Me: A Southerner's Reckoning with the Myth of the Lost Cause (2020), p. 84

 * The sustained legal campaign of subjugation, called Jim Crow, plus targeted law enforcement, lack of education resources, and limited economic opportunity, resulted in "the Great Migration." Starting in the first decade of the twentieth century, more than a million African Americans left the racial violence and poverty of the South for the industrial cities of the North and West. In 1900, Georgia's Black population was over 47 percent of the total. By 1970, the figure had dropped to just over 25 percent. In the 1910 census, Walton County recorded 25,393 people. The next time it would reach that level was in the 1980 census, the year I graduated from high school. By then, Walton County benefited from its proximity to a booming Atlanta. The racial terror and Jim Crow laws decreased Georgia's population and retarded its economic potential for generations. Racism isn't just morally wrong; it's economically stupid.
 * Ty Seidule, Robert E. Lee and Me: A Southerner's Reckoning with the Myth of the Lost Cause (2020), p. 90-91

 * It is unknown how many slaves were freed in Virginia as a reward for military service, but in neighboring Georgia, Austin Dabney was the only one. Purchased by the legislature from his owner, he also received a land grant as well as a federal pension.
 * Robert A. Selig, "African-Americans in the Continental Army and the State Militias During the American War of Independence", Reflections-->

 * I can make this march, and I will make Georgia howl!
 * William Tecumseh Sherman, telegram to General U.S. Grant (1864), as quoted in Conflict and Compromise: The Political Economy of Slavery, Emancipation, and The American Civil War (1989), by Roger L. Ransom

 * If the people raise a howl against my barbarity and cruelty, I will answer that war is war, and not popularity-seeking. If they want peace, they and their relatives must stop the war.
 * William Tecumseh Sherman, Letter to Henry W. Halleck (September 1864)

 * By the original compact of government, the United States had certain rights in Georgia, which have never been relinquished and never will be... Allow the Union and peace once more to settle over your old homes at Atlanta.
 * William Tecumseh Sherman, letter to the members of the city council of the City of Atlanta (12 September 1864)

 * I beg to present you as a Christmas gift the City of Savannah, with one hundred and fifty guns and plenty of ammunition, also about twenty-five thousand bales of cotton.
 * William Tecumseh Sherman, as quoted in telegraph to Abraham Lincoln (December 1864), as quoted in Southern Storm: Sherman's March to the Sea (2008), by Noah Andre Trudeau, New York: HarperCollins, p. 508

 * Still on the whole the campaign is the best, cleanest and most satisfactory of the war. I have received the most fulsome praise of all men from the President down, but I fear the world will jump to the wrong conclusion that because I am in Atlanta the work is done. Far from it. We must kill three hundred thousand I have told of so often, and the further they run the harder for us to get them.
 * William Tecumseh Sherman, letter to wife

T

 * Down near the Florida border, Georgia could give South Carolina lessons in heat and humidity.
 * Harry Turtledove, The Great War: Breakthroughs (2000), Chapter 14, (ISBN 0-345-40563-3, p. 329)

W

 * I was watching the news reports from Baltimore and hearing all the condemnations from some about being kept down and the lack of jobs, opportunity, good schools; then why do these blacks keep voting for the same people? And this isn't a phenomenon isolated to Baltimore. Every single major urban center in America is run by Democrats; more specifically, liberal progressives, black or white. The morass that became Detroit. The killing fields of Chicago. The depravity of Washington, D.C. The shame of South Dallas. And yes, even the place that was once my home, Atlanta, even with all the successful black entertainers. Now, I remember the first black mayor of Atlanta, Maynard Jackson. That guy was a leader and even spoke at my high school Baccalaureate. But today, Atlanta Mayor Kasim Reed has done such a bang-up job that the Atlanta Braves are moving to Cobb County! Just do the assessment yourselves, who are the elected officials heading up the urban centers? And where does one find the most dire socio-economic statistics?
 * Allen B. West, "The dirty little secret no one wants to admit about Baltimore" (18 May 2015), National Black Republican Association.

 * Hurrah! Hurrah! We bring the jubilee! Hurrah! Hurrah! The flag that makes you free... So we made a thoroughfare for freedom and her train, sixty miles in latitude, three hundred to the main. Treason fled before us, for resistance was in vain, while we were marching through Georgia... Yes and there were Union men who wept with joyful tears, when they saw the honored flag they had not seen for years. Hardly could they be restrained from breaking forth in cheers, while we were marching through Georgia.
 * Henry Clay Work, "Marching Through Georgia" (1865)

Georgia runoff elections 2020/2021
(in Chronological order)

 * The management of Georgia elections has become an embarrassment for our state
 * Raphael Warnock & Kelly Loeffler according to [https://www.cnn.com/2020/11/09/politics/georgia-runoff-key-dates/index.html ( 9 November 2020)

 * RINOS @BrianKempGA, @GeoffDuncanGA, & Secretary of State Brad Raffensperger, will be solely responsible for the potential loss of our two GREAT Senators from Georgia, @sendavidperdue & @KLoeffler. Won’t call a Special Session or check for Signature Verification! People are ANGRY!
 * Quoted by

 * Doorknock for Warnock vote your oss off
 * Campaign slogan according to  Peter Doocy  on  Fox News Sunday with Chris Wallace, (January 3, 2020)

title: Georgia (U.S. state)


text:
User talk:Roswell native

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title: User talk:Roswell native


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User talk:Kaiser matias

Hi. Welcome to English Wikiquote. Enjoy!--Aphaia 20:51, 27 January 2007 (UTC)
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title: User talk:Kaiser matias


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User talk:Jigsy

Hi. Welcome to English Wikiquote. Enjoy!--Aphaia 20:52, 27 January 2007 (UTC)
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title: User talk:Jigsy