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I have been to [the gallery] Hagen, saw two Matisses, which enchanted me. A large collection of Japanese masks. Sublime! 'Neue [Künstler] Vereinigung… - August Macke
" "I have been to [the gallery] Hagen, saw two Matisses, which enchanted me. A large collection of Japanese masks. Sublime! 'Neue [Künstler] Vereinigung' were hung in a bad light. ... Kandinsky, Jawlensky, Bechteleff and Erbslöh have immense artistic sensibility. But the means of expression are to big for what they have to say. The sound of their voice is so good, so fine, that what is being said get lost. Consequently a human element is missing. They concentrate, too much, I think, on form. There is much to be learnt from their efforts. But early things by Kandinsky, and a few by Jawlensky too, seem a little empty to me. And Jawlensky's heads looked at me a little bit too much with colors. With blue and green. I hope you understand what I mean.
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About August Macke
August Macke (3 January 1887 – 26 September 1914) was a German Expressionist artist, who was well-known for introducing bright colors in the early stages of Expressionism. He was part of the art-group Der Blaue Reiter, which he joined through his friendship with Franz Marc, and knew Wassily Kandinsky, Paul Klee, and Robert Delaunay; before his death in the First World War, he would leave behind hundreds of artworks, celebrated by the people around him.
Also Known As
Native Name:
August Robert Ludwig Macke
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The new discovery that I have made in painting is the following. There are chords of colors, let's say a certain red and green, which move, shimmer when you look at them. Now if you're looking at a tree in a landscape, you can either look at the tree, or at the landscape, but not both, because of the stereoscopic effect. Now, when you are painting something three-dimensional, the chromatic sound which shimmers is the three-dimensional effect of colour, and when you paint a landscape, and the green foliage shimmers a little with the blue sky showing through it, that happens because the green is on a different plane from the sky in nature too. Finding the space-shaping energies of colour, instead of contenting ourselves with a dead chiaroascuro, is our finest task.
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