Ernst Ludwig Kirchner Quotes (1880-1938)

“The struggle for existence is very difficult here [Berlin], but the possibilities are also greater. I hope that we can create a fruitful new school and convince many new friends of the value of our efforts.”

“It is not a question of trying to reproduce objective features, only of good practice for the fingers and for the perceptive faculty, and that too is very useful. You must have read how Van Gogh was always getting his brother to send him drawings to copy. And how Rembrandt used to copy Indian an Italian pictures. Not of course, because they were short of material, but to get 'du corps'. So one should be always drawing... ...Oh, you’d love the Indians. The pure, Aryan Indians, not those one could see in Berlin, whose forms had become rigid and sterile through mingling with the Chinese.”

“[the nicest artist and his works were] always of a high standard and truly free works of art and genuine because they matured freely and purely on the basis of his philosophy of life.”

“The bracing air of the North Sea brought out a monumental impressionism, especially in Schmidt-Rottluff.. ..[a pictorial unity] which actually lives more through the artist's obsession than through the definition of the subject.”

“..It is not a question of trying to reproduce objective features, only of good practice for the fingers and for the perceptive faculty, and that too is very useful. You must have read how Van Gogh was always getting his brother to send him drawings to copy.. ..to get 'du corps'. So one should be always drawing...”

“[Kirchner's studio was] that of a real bohemian, full of paintings lying all over the place, drawings, books and artist's materials — much more like an artist's romantic lodgings than the home of a well-organised architecture student.”

“A colourfully painted curtain concealed a large collection of paintings [in Kirchner's studio in Berlin]. When we began to look at them, he came alive. Together with me, he saw all his experiences drift by on canvas, the small, timid-looking woman set aside what we had seen and brought a bottle of wine. He made short explanatory remarks in a weary voice. Each picture had its own particular colourful character, a great sadness was present in all of them; what I had previously found to be incomprehensible and unfinished now created the same delicate and sensitive impression as his personality. Everywhere a search for style, for psychological understanding of his figures. The most moving was a self-portrait in uniform with his right hand cut off. Then he showed me his travel permit for Switzerland. He wanted to go back to Davos.. ..and implored me to ask father for a medical certificate..”

“Eberhard Grisebachhttps://de.wikipedia.org/wiki/Eberhard_Grisebach, in a letter March 1917 to Helen Spengler; as quoted by E. W. Kornfield, Stauffer, Christine E. Stauffer (1992). Biography Ernst Ludwig Kirchner, Kirchner Museum Davos. Retrieved March 21, 2016; from Wikipedia: Kirchner”

“'a true victim of the war; the hellish delusion of being sent back into battle had deranged him and flung him helplessly onto the shabby bed of a third-class hotel.. .In Davos I found an emaciated man with a piercing, feverish gaze, who saw imminent death before his eyes.”

“A tragedy had been quietly enacted here over the last few months. Because of the defamation in Germany [in 1937 a total of 639 works by Kirchner were confiscated by the Nazi-regime: Degenerate Art] and the failure of the November exhibition in Basle.. ..he [=Kirchner] chose a radiantly beautiful day, 15 June, to put an end to his life. I shall spare you the details. He had been suffering grievously until he was able to make this decision.”

“In the days that I spent in Dresden [before 1911].. ..I was together with Kirchner and Heckel a great deal.. .Here they led a singular bohemian life, liberated from any ordering of day-times and mealtimes; when they had the impulse they worked the whole night through and slept through the morning. I was convinced that they not infrequently lived on coffee, cake, and cigarettes.. .When the lamps were lit, we sat on benches and crouched over the batik-ed fabrics that were spread around the low table and looked at the portfolios with hand drawings and printed sheets; all the time strange, grotesque sculptures peered over our shoulders. The two showed me how they etched their lithographs, printed their etchings, and Kirchner drew two.. ..portraits of me with the dry-point needle.”

“In spring 1915, the recruit, Ernst Ludwig Kirchner, was furloughed from his field artillery unit because he did not prove adequate to the demand of service. The diagnosis said: "because of affected lungs and feebleness." But the true cause was a profound physical and spiritual crisis, which brought him to a sanatorium in Königstein, Taunus. Artistic efforts at overcoming the trauma are revealed in works such as the 1915 'Self-Portrait as a Soldier'. The artist presents himself in the masquerade of a uniform: his face is a mask of isolation: a bleeding arm stump looms out of the right sleeve; the painter's active hand seems chopped off.”

“Kirchner superimposes [in his series Street Scene painting from Berlin], (de:Straßenszenen) a jaded artificiality over its excitement and glamour, situating the garish yet exotic streetwalker in an atmosphere suggesting loneliness and alienation, as well as agitation and danger. Paint is applied in spontaneous, splintered brushstrokes that create jagged forms and express an immediacy and energy that approximate the stimulating yet hectic urban environment.”

“More than any of the other artists, Kirchner translated the staccato rhythm of the music into visual means; the legs of dancers become solid entities and almost dashes in his 1910 Hamburger Tänzerinnen (Hamburg Dancers) (Fig. 34). All weight of this image is on the legs, as they are the largest parts of the scene and are rendered fully in black. Moreover, the repeating subject of the three dancers each doing identical leg lifts creates a vibrating back-and-forth. In this quick sketch, Kirchner manages to relay the unified spirit of this performance.”