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Oskar Kokoschka

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I painted a double portrait of Alma Mahler and myself...these litho graphs will always remain..in contrast to all the contemporary art of the period.. a myth,a created symbol heavy with the meeting,begetting and parting.

 
Oskar Kokoschka

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A great portrait is always more a portrait of the painter than of the painted.

 
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The forces of being remain. They are what the writer, as distinct from the contemporary popular mythmaker, still engage today, as myth in its ancient form attempted to do.

 
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Perhaps nowhere do we learn more about Lincoln even now than in a portrait that I talked about last month off the coast of Malta before meeting Chairman Gorbachev. It is, as this one is, by George Healy, and hangs on the wall of my office upstairs. And in it you see the agony and the greatness of a man who nightly fell on his knees to ask the help of God. The painting shows two of his generals and an admiral meeting near the end of a war that pitted brother against brother. And outside at the moment a battle rages. And yet what we see in the distance is a rainbow — a symbol of hope, of the passing of the storm. The painting's name:The Peacemakers. And for me, this is a constant reassurance that the cause of peace will triumph and that ours can be the future that Lincoln gave his life for: a future free of both tyranny and fear.

 
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Last December 13th, there appeared in the newspapers the juiciest, spiciest, raciest obituary it has ever been my pleasure to read.
It was that of a lady named Alma Mahler Gropius Werfel, who had, in her lifetime, managed to acquire as lovers practically all of the top creative men in central Europe. And, among these lovers, who were listed in the obituary, by the way, which is what made it so interesting, there were three whom she went so far as to marry: One of the leading composers of the day, Gustav Mahler, composer of "Das Lied von der Erde" and other light classics, one of the leading architects, Walter Gropius, of the "Bauhaus" school of design, and one of the leading writers, Franz Werfel, author of the "Song of Bernadette" and other masterpieces.
It's people like that who make you realize how little you've accomplished. It is a sobering thought, for example, that when Mozart was my age, he had been dead for two years.

 
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We contrast the urban and the natural, but that’s a contemporary myth. We’re animals, after all; our cities are organic products, fully as “natural” (whatever that word really means) as a termite hill or a rabbit warren. But how much more interesting: how much more complex, dressed in the intricacies and exfoliations of human culture, simple patterns iterated into infinite variation. And full of secrets, secrets beyond counting.

 
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