A Quote by Max Beckmann

Often, very often, I am alone. My studio in Amsterdam, (Beckmann lived in the center of Amsterdam during World War 2.) an enormous old tobacco storeroom is again filled in my imagination with figures from the old days and from the new, like an ocean moved by storm and sun and always present in my thoughts. Then shapes become beings and seem comprehensible to me in the great void and uncertainty of the space which I call god.
The approach to that movie wasn't, 'Lets make this movie about Amsterdam and maple syrup.' The concept was, 'Lets go to Amsterdam. Amsterdam is fun.' So we flew to Amsterdam with our cameras and we saw what happened and then we got back and we sat down and we said, 'What's the movie here.' That's when we realized that the movie was 'The Maple Syrup Saga'.
My father was born in Amsterdam in a highly religious family. He was in Amsterdam, and he went into hiding right near where Anne Frank was. He was a theoretical physicist and the last Jew to get a Ph.D. in Amsterdam.
I have always lived in Amsterdam. During the war, we inhabited the Rivieren neighborhood where many Jews lived at the time. Our downstairs neighbors were Jews, and there were also Jews a few houses from us. We saw how they were rounded up and taken away. That made a very great impression on me.
The old world order changed when this war-storm broke. The old international order passed away as suddenly, as unexpectedly, and as completely as if it had been wiped out by a gigantic flood, by a great tempest, or by a volcanic eruption. The old world order died with the setting of that day's sun and a new world order is being born while I speak, with birth-pangs so terrible that it seems almost incredible that life could come out of such fearful suffering and such overwhelming sorrow.
Second-hand gloves will become lovely again, their memories are what give them the need for other hands. And the desolation of lovers is the same: that enormous emptiness carved out of such tiny beings as we are asks to be filled; the need for the new love is faithfulness to the old.
Old Magic, Old Ways, the Old Ones themselves often seem powerless in a new place.
Textbooks describe DNA as a blueprint for a body. It's better seen as a recipe for making a body, because it is irreversible. But today I want to present it as something different again, and even more intriguing. The DNA in you is a coded description of ancient worlds in which your ancestors lived. DNA is the wisdom out of the old days, and I mean very old days indeed.
We sometimes get lost in a bubble... when you get to a certain age you're always thinking about the old days and how it wasn't like that then. Well, yeah, that's great and it's very nostalgic and all that, but actually the world has moved on.
I was in George Martin's studio in Amsterdam and he was telling me, 'They come in here and it takes them three days to do a bass line.' Well I'm not from that era.
What is new, however, is always evil, being that which wants to conquer and overthrow the old boundary markers and the old pieties; and only what is old is good. The good men are in all ages those who dig the old thoughts, digging deep and getting them to bear fruit - the farmers of the spirit. But eventually all land is depleted, and the ploughshare of evil must come again and again.
I am aware that I am very old now; but I am also aware that I have never been so young as I am now, in spirit, since I was fourteen and entertained Jim Wolf with the wasps. I am only able to perceive that I am old by a mental process; I am altogether unable to feel old in spirit. It is a pity, too, for my lapses from gravity must surely often be a reproach to me. When I am in the company of very young people I always feel that I am one of them, and they probably privately resent it.
And call me a pig, but isn't it brilliantly refreshing how early the Dutch eat dinner? When they're still laying out the cutlery in achingly hip Barcelona, they're hanging the Closed sign on the restaurant doors of old Amsterdam.
There is something inexpressibly sad in the thought of the children who crossed the ocean with the Pilgrims and the fathers of Jamestown, New Amsterdam, and Boston, and the infancy of those born in the first years of colonial life in this strange new world.
Whoever lives for poetry must read everything. How often has the light of a new idea sprung for me from a simple brochure! When one allows himself to be animated by new images, he discovers iridescence in the images of old books. Poetic ages unite in a living memory. The new age awakens the old. The old age comes to live again in the new. Poetry is never as unified as when it diversifies.
And some day there will be nothing left of everything that has twisted my life and grieved it and filled me so often with such anguish. Some day, with the last exhaustion, peace will come and the motherly earth will gather me back home. It won't be the end of things, only a way of being born again, a bathing and a slumbering where the old and the withered sink down, where the young and new begin to breathe. Then, with other thoughts, I will walk along streets like these, and listen to streams, and overhear what the sky says in the evening, over and over and over.
I wasn't manufactured. I was cut from the cloth of the very old world of gastronomy. There was no such thing as celebrity chefs, chefs were trained and I like to think that I still represent those old values from that world and the opportunities that I am offered I often say no to.
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