“[JawlenskyPickWerefkin] Yes, we [ Marianne Werefkin and Gabriéle] shared very much the same tastes and ideas, when we lived together in this house (the so-called 'Russian house' in Murnau]. She was extremely perceptive and intelligent, but Jawlensky [living with Marianne Werefkin] didn't always approve her work... Suddenly Jawlensky would pick on some tiny detail of one of Marianne's best and most original pictures and exclaim: 'That patch of color, there, is laid on much too flat and smoothly. It's just like old Riepin' [famous Russian painter Ilya Repin ] and their common former teacher in Russia]. Of course it was nonsense and he was only saying it to annoy her. But Jawlensky really was a devotee of the 'touche de peinture' of the French Fauvists, rather than an innovator, a believer in a new kind of art of the future.”

— Gabriele Münter

Source: Interview by Edouard Roditi (1958), pp. 118-119

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Gabriele Münter 24

German painter 1877–1962

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“We [ Kandinsky and Gabriele] came here [in Murnau, near Munich] together, on a brief visit, for the first time in 1908, in June, and we were both delighted with the town and its surroundings. In August, we then returned to Murnau for two months, with Jawlensky and Marianne Werefkin.... Kandinsky fell in love with it [with the house in Murnau where Gabriele lived, till 1962] and said: 'You must buy it for our old age'. So I bought it and we then made it our home until he returned to Russia in 1914. Jawlensky and Marianne [Werefkin] used to stay with us here, and the people of Murnau called it: 'The House of the Russians”

Gabriele Münter (1877–1962) German painter

only Gabriele Münter was German, of the four artists here mentioned
Source: Interview by Edouard Roditi (1958), p. 115

“This acquaintance [with Marianne Werefkin ] would change my life. I became a friend of hers, of this clever woman gifted with genius.”

Alexej von Jawlensky (1864–1941) Russian painter

from his memoirs, 1936/41: in Lebenserinnerungen (Memories), Alexej Jawlensky - Köpfe-GesichteMeditationen (Heads-Faces-Meditations), ed. Clemens Weiler (Hanau: H. Peters, 1970), p. 106
1936 - 1941

“.. we parted in 1914, when Kandinsky, being an enemy alien [because of his Russian nationality], had to flee from Germany to Switzerland, as did Jawlensky and Marianne de Werefkin too [to neutral Switzerland]... Ever since we parted in 1914, I have worked mainly by myself. After the First World War, here in Munich, we found that our Blue Rider group had broken up. Franz Marc and Macke had both been killed [in World War 1. ] Kandinsky, Jawlensky and Marianne were no longer here; Bloch and Burliuk were in America. Those of us who were still in Munich remained friends, of course, but each one of us had learned to work by himself rather than in a group. Besides.... we had always been individualists and our Blue Rider group never had a style of its own as uniform as that of the Paris cubists.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 121

“We had a very lovely place [in Ascona with his life-companion Marianne Werefkin ] with a garden directly on the lake. It was on the edge of Ascona. Next to it began the Campagna [landscape], and this Campagna was enchantingly beautiful, like a dream.”

Alexej von Jawlensky (1864–1941) Russian painter

quote from Jawlensky's memoirs, 1936/41: Lebenserinnerungen (Memories) p. 119; as cited in Exile, the Avant-Garde, and Dada: Women Artists Active in Switzerland during the First World War http://www.jstor.org/stable/10.1163/j.ctt1w8h0q1.10, by Isabel Wünsche, p. 66
Jawlensky was very pleased with this move from Zurich to Ascona; Werefkin arranged this family's move after Jawlensky fell gravely ill with the Spanish flu. A few years later Jawlensky would leave here.
1936 - 1941

“They [Jawlensky and Münter] often lived here in our Murnau house. But Paul Klee and Franz Marc were also close friends, and August Macke, too, whenever he was in Munich... Klee was never as active a theorist, in those years, as Kandinsky or Marianne de Werefkin. Besides, it took Klee much longer to become a truly and conscious modern artist... As you can see in my portrait of Klee, which is painted in 1913 – I mean the one where he is seen seated in one of the rooms here downstairs and wearing white summer slacks – he is not very communicative. That is why I depicted him all hunched up and tense, as if he were constraining some mainspring within himself. In my eyes, it was almost a portrait of silence rather than of Klee, and for many years it no longer occurred to me that he had been my model. But Klee was always a close friend of ours, and Kandinsky and I had great confidence in his talent and his future.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 120

“Marianne was silent; it was impossible for her to say what she did not feel, however trivial the occasion…”

Jane Austen book Sense and Sensibility

Source: Sense and Sensibility

“My eyes are magical glass [when looking at] the outside world, and it can transform a lot into bewitching beauty. Paris, Munich.... they're all the same. The country is nice, because it is closer to nature and bad because we [Werefkin and Jawlensky] are no longer people from nature. I saw this at Blagodat. The more a person improves himself, the more one is doomed to loneliness. One doesn't need friends, one needs oneself and anybody who loves you like themselves.”

Marianne von Werefkin (1860–1938) expressionist painter

Quote of Marianne Werefkin, in a letter to Jawlensky, 1909-1910, fond 19-1460, 38-39 as reprinted in Lauchkaite-Surgailene, Vilnius no. 3, sec. 16, 136;; as quoted in 'Identity and Reminiscence in Marianne Werefkin's Return Home', c. 1909; Adrienne Kochman http://www.19thc-artworldwide.org/spring06/52-spring06/spring06article/171-ambiguity-of-home-identity-and-reminiscence-in-marianne-werefkins-return-home-c-1909
'Blagodat' is the name of the family landed estate in the Russian country where Jawlensky often accompanied Werefkin before their common move to Munich.
1906 - 1911

“For a long time, I didn't understand the idea of not being able to appeal to a human heart. And then Marianne Williamson (if I can dare drop her name)… we were doing a Q&A on stage, and there was a question about evil, and my quick, sort of spiritual response was (and I actually stand by it in some senses)… was that human beings are… maybe we're traumatised, maybe we're disconnected, and our behavior, ideally, would be separate from the truth of who we essentially are.”

Alanis Morissette (1974) Canadian-American singer-songwriter

Alanis Morissette - Wake Up San Francisco with Adyashanti & Tami Simon - YouTube (28 March 2015; starts at 14:17) https://www.youtube.com/watch?v=Jr_ClddVgJs

“She was a very good-looking woman, and extremely intelligent. But she wasn’t really very female; she had too much of a male intelligence.”

Friedrich Hayek (1899–1992) Austrian and British economist and Nobel Prize for Economics laureate

Conversation https://www.youtube.com/watch?v=qNwceWargfs&feature=youtu.be&t=2m10s with Alchian (1978); About Vera Lutz, published in Nobel Prize-Winning Economist: Friedrich A. von Hayek https://archive.org/details/nobelprizewinnin00haye (1983), p. 363
1960s–1970s

“Marianne tried to stay hopeful. But slowly her imagination bulldozed her optimism aside and pushed her mind into a dark place. There, she saw Abby tethered to the boat in her bright red foul-weather gear, being dragged along dead in the sea.”

Abby Sunderland (1993) Camera Assistant, Inspirational Speaker and Sailor

Source: Unsinkable: A Young Woman's Courageous Battle on the High Seas (2011), p. 172

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Gabriele Münter 24

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