|
|
|
 |
|
|
WD_132/ 2005
(  Satoshi Kinoshita )
| Series: | Works on paper: Drawings 2 | | Medium: | oil pastel and wax crayon on paper | | Size (inches): | 25 x 19.9 | | Size (mm): | 640 x 510 | | Catalog #: | WD_0132 | | Description: | Signed, date and copyright in pencil on the reverse.
Arnold Schönberg (1874–1951) - Interview with Raymond E. Swing.
[…] I used to paint […] but that was years ago. I didn’t do much with it. Maybe I shall take it up again. But painting and my music have nothing in common. My music is the result of purely musical theory and must be judged from purely musical results. […]
Raymond Swing: Music in Dissonance. Arnold Schoenberg, Germany’s Leading Futurist Composer, Gives Ideas, in The Daily News (1 November 1913 ). Interview with Arnold Schönberg in Berlin (12 October 1913 ), published on the occasion of a performance of Five Pieces for Orchestra, op. 16, in Chicago.
-www.schoenberg.at/6_archiv/paintings/catalogue/texts/Interview_e.htm
Gazes:
On the one hand, I had a poor memory for facial features, but, on the other hand was able (formerly) to draw the face of a person with a few strokes after a single sighting. I was never able to explain these contradictions until I discovered that they stand in connection with another ability: I can copy the gaze of most people! And this is because I look people only in the eyes (so that I often do not know whether or not he has a moustache). Therefore, my drawings would also become worse and worse after the first sketches, when I wanted to add details. That is probably also why my so-called “Visions” are always gazes.
Dated: 1 June 1926.
-Arnold Schönberg / www.schoenberg.at/6_archiv/paintings/catalogue/texts/blicke_e.htm
Stuckenschmidt Brecht Operatic Laws:
[… I] know by myself that I have simultaneously applied watercolor, pencil, ink pencil, Chinese ink, and tempera (white) in one painting. I know that this is a sin against the demand for a unity of material. Nevertheless, I must confess that I cannot perceive this sin in the effect, which is still noble. It must be considered, however, that watercolor is quite imperfect as a painting material. I do not believe that I would have had a similar need when using oil paint. Or maybe I would, though: sometimes I would have wished to use enamel paint in some parts, but I have never tried. (I specially thought of quick-drying enamels, which provide a wonderful primer, a grounding, over which one can glaze the tones. I can still see the effect before my mind’s eye.) […]
Dated: 3 July 1931.
About Hans Heinz Stuckenschmidt: Vier Wege und ein Ziel, in Vossische Zeitung (Juli 1931) [Stuckenschmidt discusses Bertold Brecht and Peter Suhrkamp: Remarks about Opera.]
-Arnold Schönberg / www.schoenberg.at/6_archiv/paintings/catalogue/texts/operngesetze_e.htm
Painting Influences:
It is necessary that I myself clarify a number of inaccuracies which have been spread around about me.
I am starting with the rectification of a lie, which was probably spread by its author in order to take revenge on me. Dr. Paul Stefan for whom I apparently showed my contempt a little too distinctly claims that I was influenced by a painter; and Dr. Wellesz, the other biographer with whom I am blessed, copies it in print, with the modification that I was influenced by Kokoschka.
Really to recognize these lies as such it is enough
1. to know that Dr. Stefan, when he wants to tell the truth still lies, for which reason his biography is teeming with in accuracies. One could now believe that, if he wants to lie he would have to tell the truth. But the truth is for him unrecognizable and above all, inexpressible and so he just simply tells another lie;
2. one only needs to look at my pictures that were painted in 1910 (ten) and realize that, if able to be influenced I would have to be influenced by the pictures of a painter, and indeed as a painter.
3. However, if one compares my pictures with those of Kokoschka one has to recognize forthwith their complete independence. I painted Gazes, which I have already painted elsewhere. This is something which only I could have done, for it is out of my own nature and is completely contrary to the nature of a real painter.
I never saw faces, but because I looked into peoples’ eyes, only their gazes. This is the reason why I can imitate the gaze of a person. A painter, however, grasps with one look the whole person – I, only his soul.
4. However, if one thinks of this certain Mr. Gerstel then the matter stands thus. When this person invaded my house he was a student of Leffler for whom he supposedly painted too radically. But it was not quite so radical, for at that his ideal, his model, was Liebermann. In many conversations about art, music and sundry things I wasted many thoughts on him as on everybody else who wanted to listen. Probably this had confirmed him in his, at the time, rather tame radicalism to such a degree, that when he saw some quite miscarried attempts of mine, he took their miserable appearance to be intentional and exclaimed: “Now I have learned from you how one has to paint.” I believe that Webern will be able to confirm this. Immediately afterwards he started to paint “modern.” I have no judgement today, if these pictures are of any value. I never was very enthusiastic about them.
I am not surprised that these lies are so readily believed. For lies possess much more power of persuasion than the truth. Moreover, it fits so well into the fuzziness, which is so characteristic for the thinking of the average person. This is the way their brain works
1) Schoenberg composed something original
2) therefore it is not by him but (without statement of reasons)
3) he has got it from somebody else.
But: The idiots do not ask:
Where has the other person got it from?
Dated: 11 February 1938.
-Arnold Schönberg / www.schoenberg.at/6_archiv/paintings/catalogue/texts/einfluesse_e.htm
At the Time When I Painted:
At the time when I painted I was able to divide, a line 3, 4 or more inches, even 38 inches long very nearly correctly into 3, 5, 7, 9, 11 and 13 equal parts; or I could say that a ribbon was 97 centimeters long; I also drew a circle, inserted the center and it was very little deviating when you checked it with the compass.
I was also able to state that I, or my children had a temperature of (e. g.) 38 3/10 degrees of Réaumur. I had also a good judgement of weights. When I was in the army I shot 4 times in the same hole, and I practised to make exactly – during five consecutive minutes – the 116 steps the regulations demanded.
I was also sure of metronomic speeds and had a good judgement of the altitude of airplanes.
I guess this sense of measures, measurements and distances is one of the basic qualities of the sense of form.
Thus it might surprise that my “absolute pitch” (I call it memory of pitches) which should be my best quality is – at best – not very superior to these others of my talents. I have, of course, “absolute pitch” – but I cannot absolutely depend on it. Sometimes it functions blamelessly and I follow a performance as if I would read a score. Sometimes, however, I cannot recognize a key – especially if it is not quite in pitch.–
What I call the “analytical ear” is also not quite reliable and at least I am slow in recognizing the true facts. On the other hand I remember distinctly that I could follow thoroughly 6 to 8 voices at the end of my Gurrelieder.
Dated: 5 April 1948.
-Arnold Schönberg / www.schoenberg.at/6_archiv/paintings/catalogue/texts/time_e.htm
| | | send price request |
|
|
|
|
|
Gallery opening
500 Fifth Avenue, Suite 1820 (Between 42nd and 43rd)
...
|
|
more
|
|
