Last Lecture Intr. Paintings p. 3 a] Summary: 1. The four levels of the relation of art and religion. Social scenes, expressionistic still-lifes, religious content {, reli} without religious style, religious contents with religious style. 2. The meaning and levels of religious symbols (Transcendent, sacramental, liturgical) 3. The meaning of artistic symbolism: The opening up of levels of reality and of the soul. 4. The application of {religious} artistic symbols to religious symbols in early Gothic, transition, Mann-

[2] rism, barock. b] Subject of today modern art (20st century) and its re- lation to religion. c] The discussion in the National Council. The 4 categories: 1. Historical: from the catacombs to early barock after 1650 the great gap till 1900 2. Contemporaneans: Since the end of the 19th century. 3. Indirect and direct religions in the past. {especially in}  the gap period as predominantly indirect. 4. Direct and indirect religions in the present. Predominantly indirect.

[3] First part: The development: 1) The father of modern art: Cézanne ^x(From Picasso^y to Surrealism) p. 13. elements: building up the reality of the form. Painting not a thing, but a picture. The elements of reality [Plato^aa: cones, cylinders and spheres] [architect of form] 2) Seurat^ab's {structural} struggle {of} for architectural harmony (From--p. 14). Primitive twodimensionality in the "Circus". 3) Early Picasso^ac: "Two figures". Architectonic forms. Sup- port of the arms like pillars. (From p. 21) 4) Modigliani^ad, Portrait of Mme Hébuterne. [From p. 35] The structure and its expressive power.

[4] Picasso^ae Three seated figures (From .. p. 43) 5) Plastic instinct, primitivism (early encounter with essences of reality), dream and reality. Two di- mensional, {mathem} geometrical forms. "Seeing with the eyes of the soul." {Transposition of reality}. 6) Braque^af: "Houses at l'Estaque" (p. 51). The cubes. Rejection by the salon d'automne. "Cubism". 7) Picasso^ah "Seated Woman" (p. 53). No perspective. The figure and the frame not receding. 8) Picasso:^ai "Violine" (p. 65) elements of the ob- jective world give the structure of the picture and its artistic meaning.

[5] 9) The intension of colour (Delaunay^ak p. 91) "Simultaneous windows." "Colour is both, form and subject" [called Orphism = cosmic vision of light] 10) Kandinski^al: "The black Curve" (Colour overpowe- ring the cubes) (p. 93) Quotation: "I think that the Philosophy of Art will [...] ... study ... the spirit of things as well as their physical existence" "And so an atmosphere will be created which will enable the human race to feel this spirit ... [as] it now ap- preciates external appearances ... [therefore] the pub- lic taste for representational painting. ... from this new faculty will spring the joy of pure abstract and

[6] 11) Franz Marc^an: Deer in a forest (p. 97). The taking in of animal-forms into a cosmic vision (the essence of animal-being. Its theological significance) - Quotation: (prophecy as many of these artists [He died in the first world war]) The Europeans ... "will not ... seek new forms in the past, nor outside themselves in the stylized appearance of nature, they will create forms from inside themselves ... but the new Europeans ... must accept the graves and ruins among which they will have to live. Man always lives among graves, and we can recognize the future in stone for him by the dignity with which he moves among them." "The Tower of the Blue horses" (and my relation- ship to them)

[7] Chagall^ap 12) The use of the new means for the phantastic as the expression of the unconscious: Self-Portrait with  seven fingers (p. 102). Paris - Russian village 13) Chirico^aq: Metaphysical or magic painting: The predecessor of surrealism. "The uncertainty of the poet"  (p. 105) Quotation: "The whole nostalgia of the infinite is revealed to us {by the} behind the geometrical precision of the square ... We experience the most unforgettable movements when certain aspects of the world whose exis- tence we completely ignore suddenly confront us with the revelation of mysteries." The use of still-life forms (I. Lecture)

[8] 14) Mondrian^as, "Painting Nr. I" (p. 119) The ra- dical liberation from objects: Not even curves and dia- gonals were allowed: Extreme artistic Purism." Both, philosophy and art are means of expressing the universal. 4 Architecture photographs The relation to the forms of modern architecture. 15) New affirmation of life, {P} the Spanish war and the tragedy of existence. Picasso^au: "Weeping Woman". (p. 141) Picasso^av: Guernica: The distortion of reality. 15) Feininger^aw: The identity of formal structure and dream reality (Gateway and tower. p. 158)

[9] 16) Klee, Paul^ax (unity of painter, poet and musician) " Ceramic-mystic" (p. 163). [The remark of the painter about Klee^ay's titles: He is right, because they are non- objective. Quotation: "We used to represent things visible on earth which we enjoyed seeing ... Now we reveal the reality of visible things and thereby express the belief that visible reality is merely an isolated phenomenon latently outnumbered by other realities." --  "There is a tendency to stress the essential in the random." 17) Surrealism: Max Ernst^ba and Yves Tanguy^bb (181). Inde- pendence of the real world. Dali^bc: A girafe aflame (183) The sovereignty of the unconscious and its associations, but creating new possibilities.

[10] Second part: Its religious meaning. I. Where we come from: a] Uhde^bd: (My statement about Uhde^be and Cézanne^bf) 1. Emmaus 371, 2. The children 372, 3. Be our guest. 373. b] Steinhausen^bg: 374 Christ listening. c] Thoma^bh: 375 Christ and Nicodemus d] Gebhard^bi: Lazarus 368 e] Herterich^bj: Hutten 367 f] A. v. Keller^bk: Jairus daughter, A. v. Keller^bl. 63.       "     Crucifixion.     "     95. g] Gebhard^bm:     "     Gebhard^bn 13.      "     Blessing Christ     "     80.

Kursbuch deutscher Kunst

[11] The radical change {2. The change in Cézanne^bp and Picasso^bq.} 2. The religious qualities of the will to the picture instead of the object: The emphasisis on spiritual creativity. This from the side of the subject: The category of ar- tistic freedom from the sensual object. (Not a supra- natural object, but dimensions of the natural object, shown in separation from them.) 3. Seeing with the eyes of the soul. The encounter {f}  with a primitive experience of reality (more genuine elements) 4. The meaning of the 2 dimensions: Essences have no dimensions in space.

[12] 5) The cosmic feeling in still lifes (Delaunay^bs and the metaphysics of colour.) 6) Kandinski^bt and the spirit of things against their appearance. (interpretation of the resistance against modern art: Bondage to the sensual reality) 7) Mar^bvc an the destinction of the surface; Euro- peans living in ruins. 8) Chirico^bw and the presence of the infinite in the finite. The revelation of mysteries. 9) Purism and honesty (Mondrian^bx, modern tim- ming).

[13] 10) The distorted reality. Weeping woman and Guernica. 11) The transcendence of the visible and the limited reality. 12) The rediscovery of the unconscious. Third part: Some attempts towards rel. art! (Before 1919! 1. Crucifixion. Dühlberg^ca Tafel 15. Hartlaub^cb: Kunst und Religion) 2. Annunciation: Dietz Edzard ^ce(T. 23) 3. Magician, Ebertz^cf. (T. 22)

[14] 4. Weissgerber,^cg Jeremias (T. 36) 5. Beckmann^ch, Decent. (T. 37)      "     Adulteress (T. 38) 6. Kokoschka,^ci The "pilloried" (?) 43 7. Nauen^cj, The Samaritan (49) 8. Heckel^ck, Madonna of Ostende (51)      "     Praying. (52) 9. Nolde^cl, Lord's Supper (55)      "     Scribes (56)      "     Bethany (60)      "     Pentecost (61) 10. Rottluff,^cm Emmaus (66)

[15] Meidner^cn, Prophet, 70 Lebrun^co, Crucifixion, Art news Dec. 50. p. 39 The limits of the religious picture. (the clowns, pierrots, harlequins) Rouault^cp, Head of a clown. (Art news) The artistic form + the meaning of the sym- bols: In this not art alone responsible, but the life of the Church, the latent and the mani- fest.