Known primarily for his profound literary works like Steppenolf, Hesse was not just an author but also a passionate painter. This book offers a glimpse into this side, where his fascination with colours comes to life through his watercolor paintings from Ticino, his chosen home.
»Oh, there was nothing more beautiful, nothing more important, nothing more joyful in the world than painting; everything else was nonsense, a waste of time and fuss.«
In this collection of diaries, letters, and various personal writings, Hesse reflects on the emotional and symbolic power of color in both life and art, using vibrant language that mirrors the richness of his paintings. These works reveal a more personal and intimate connection to the nature landscapes and emotions that inspired him, blending his literary depth with the vibrant, expressive world of visual art. Through his written words, Hesse explores how colors shape our perceptions, evoke emotions, and offer us a different way of seeing the world. Whether you're an admirer of his literary works or discovering Hesse through his paintings, The Magic of Colors opens a door to the author's colorful imagination.
For a detailed exploration of Hesse's impact in literature, particularly in Steppenwolf, you can go to my other entry. Here we will focus on Hesse not just as a writer but as a painter and a poet whose artistic journey was deeply tied to his inner struggles and life events.
What stands out in his personal documents is how deeply connected Hesse was to the act of painting. His art was not merely a hobby — it became essential for his survival, both emotionally and mentally, especially during the most difficult phases of his life.
Hesse began painting around the time of World War I. It is important to note that he was entirely self-taught as a painter. He developed a distinctive style, initially characterized by subdued earth-toned drawings. His pacifist stance during the war made him a public target, and the resulting political backlash, along with personal turmoil, plunged him into deep emotional distress. During this period of upheaval, Hesse discovered painting as a lifeline. The passion for painting begin in his time in Bern, Switzerland. There, he engaged with inmates of a prison camp, creating painted postcards for them. These early works were simple yet served as emotional anchors for both him and those around him.
His approach to painting also resonated with his literary work. In Steppenwolf, for instance, there is a similar tension between realism ideals and modern, expressionist explorations, reflecting his escape from reality in both words and images. His use of vibrant and emotional watercolors reflected the influence of Blaue Reiter artists like August Macke and Louis Moilliet, whom he greatly admired. Macke, in particular, was a figure of great influence on Hesse’s artistic journey, regarding watercolors.
»Watercolors by August Macke have always been the epitome of watercolor painting for me [...] I own most of Macke's reproductions. Alongside Moilliet, he is my favorite watercolorist.«
When I purchased the book in an antiquarian shop, the seller remarked that it is a very beautiful book. At that time, I had no idea just how truly beautiful it was. Let’s take a brief look at it:
Hesse had a profound love for nature, which often inspired his artistic endeavors. This book focuses on this aspect, although he also painted works like Maskenball and Wendeltreppe. The landscapes surrounding Montagnola offered him a serene canvas, fueling his creativity and allowing him to connect deeply with the beauty of the world around him.
His personal relationship with painting is laid out in his letters and other writings. The act of painting offered Hesse an escape from the intellectual rigor of writing, which he often found mentally exhausting. Writing was a head-driven activity, while painting was heart-driven. This contrast is significant because it shows the emotional necessity that painting represented for Hesse. For Hesse, painting was a therapeutic practice that helped him cope with the world around him.
Hesse’s work became increasingly expressive, reflecting a youthful energy and vibrancy, even though he was well into his forties during this artistic transformation. This shift is particularly fascinating as it parallels the evolution of his literary themes. Just as Steppenwolf (1927) dealls with modernist ideas of transformation and renewal, Hesse’s paintings started to break away from tradition.
The emotional depth of Hesse's painting is evident in how he describes his connection to the process. In his writings, Hesse consistently emphasizes to others the power of colors and their almost magical impact on his soul, revealing a strong need to communicate this experience. His enthusiasm for the transformative nature of colors reflects not only his artistic journey but also his desire to share the profound effect that painting has on his emotional well being.
One fascinating aspect of Hesse’s painting is the ongoing struggle he describes between perfectionism and creative release. At times, he would express immense frustration with his work, feeling as though nothing was right and that he should abandon it all. Yet, in those moments, Hesse would often find the strength to start again, capturing the beauty of the creative process in its most authentic form.
»Mistakes and mistakes caught my attention while I was still wiping and smearing. No, I had gotten carried away; I had to stop. [...] Good heavens, what had I made of these wonderful flowers: a chaotic mess lay there on the defaced paper; it was a shame about the paper, a shame about the paint, and a shame about the water that I had contaminated with my smearing! Slowly, I tore the soiled paper into pieces, and slowly I let it sink into the wastebasket. Was there anything more dangerous, more burdensome, or more disappointing than painting? Was there anything more delicate and hopeless? [...] While I thought these intense thoughts, I mechanically affixed a new sheet of paper to my board, washed the two brushes clean, fetched some pure water once again, and began my painting slowly and anxiously anew.« (Diary entry, 1928)
Hesse was often disappointed that his literary colleagues did not share the same enthusiasm for his painting. This didn’t stop him from regularly gifting his paintings to friends. He was well aware that the world primarily valued him for his writing, yet painting remained his most heartfelt outlet. His friendship with artists like Gunther Böhmer, who supported him, played a crucial role in sustaining his artistic efforts.
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Hesse's literary work is more complex, but both forms convey the same message. His work — both literary and visual — remains a powerful reminder of the healing power of art. I would recommend this book to literary enthusiasts who appreciate how his artistic expression complements his writing, as well as art lovers interested in Expressionism and early 20th-century art.
