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You see, I have in my teaching - I always say I've done it for a hundred years and have had thousands of students - I have always spoken against just falling onto your knees for so-called accidents, I mean a result you are not responsible for.
When we were in the seminary we got a stipend direct from the government and for that stipend we had an obligation to stick to our teaching job for five years.
When we are honest - that's my saying - if we are honest then we will reveal ourselves. But we do not have to make an effort to be individualistic, different from others.
When I came from horizontal vertical straight all old stuff then suddenly I go also again in curved lines. And there I submit to changes in the intensity of my hand leading a tool, you see.
Traditionally art is to create and not to revive. To revive: leave that to the historians, who are looking backward.
The aim of our studies is to prove that color is the most relative means of artistic expression, that we never really perceive what color is physically.
Simultaneous contrast is not just a curious optical phenomenon - it is the very heart of painting.
On the little money I had collected I lived in Berlin very cheaply, ate very cheaply. And already in 1920 I saved the first salaries I received to go to Munich.
My father's parents were carpenters. They were also builders partly. They were painters. And several of them were very, active in the theatre and all such nonsense, you know.
It was my family that wanted me to be a teacher. That was safe, you see. To be a painter was terrible.
It is not so for art in appreciation because art is concerned with human behavior. And science is concerned with the behavior of metal or energy. It depends on what the fashion is. Now today it's energy. It's the same soul behind it. The same soul, you see.
Instead of art I have taught philosophy. Though technique for me is a big word, I never have taught how to paint. All my doing was to make people to see.
In visual perception a color is almost never seen as it really is - as it physically is. This fact makes color the most relative medium in art.
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