“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.”

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

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Gabriele Münter24

German painter 1877–1962

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“They [Kandinsky, Jawlensky and Paul Klee ] were constantly arguing about art and each of them, at first, had his own ideas and his own style. Jawlensky was far less intellectual than Kandinsky or Klee and was often frankly puzzled by their theories. My 1908 portrait entitled 'Zuhören' ('Listening') actually represents Jawlensky, with an expression of puzzled astonishment on his chubby face, listening to Kandinsky's new theories of art.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 117

“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

“.. 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

“At the Bauhaus, Klee exuded a healthy, generative atmosphere – as a great artist and as a lucid, pure human being.”

Wassily Kandinsky (1866–1944) Russian painter

Quote of Kandinsky, from Bauhaus - Zeitschrift für Gestaltung, no. 3, 1931; as cited in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html <br class="br">1930 - 1944

“The harbor and city.... were behind us [Klee's first glimpse of Tunis], slightly hidden. First, we passed down a long canal. On shore, very close, our first Arabs. The sun has a dark power. The colorful clarity on shore full of promise. Macke too feels it. We both know that we shall work well here.”

Paul Klee (1879–1940) German Swiss painter

Diary-note, 7 April 1914; as quoted by June Taboroff, on 'AramcoWorld', May, June 1991 http://archive.aramcoworld.com/issue/199103/travels.in.tunisia.htm <br class="br">1911 - 1914, Diary-notes from Tunisia' (1914)

“[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 (1877–1962) German painter

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

“You [the interviewer Edouard Roditi, in 1958] have probably understood that I had always been mainly a plain-air painter, though I also painted portraits and still-life compositions. At first I experienced great difficulty with my brushwork – I mean with that the French call 'la touche de pinceau'. So Kandinsky taught me how to achieve the effects that I wanted with a palette knife. In the view from my window in Sèvres, that I painted in 1906, when we were together in France, you can see how well he taught me. Later of course, here in Murnau, I learned to handle brushes, too, but I managed this by following Kandinsky's example, first with a palette knife, than with brushes.”

Gabriele Münter (1877–1962) German painter

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

“Now I'm sitting quietly at home again and I'm happy to be able to work undisturbed. I made a lot of sketches of life in Germany and it was very intriguing to see life there [in Berlin, a stay for three weeks]. I was also glad to see the old pictures of Rembrandt, Dürer, etc. again and to have the confirmation and encouragement they gave me. As for the moderns, I saw damned little that gripped me... Modern German painting has moved so far away from me and become unintelligible in areas in which my work had, and still has, an influence; but people like Klee, Kandinsky, etc. have moved much closer to me again, in fact I value the Bauhaus more and more. These people are working and developing. You can see that there is development. And they love their work, which is the main thing.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

Letter to Dr. Karl Hagemann, 26 March 1926 (short after a stay of 3 weeks in Berlin; as quoted in the biography-pdf http://www.kirchnermuseum.ch/data/media/downloads/Biography.pdf of the Kirchner museum, Davos <br class="br">1920's

“As for myself, I confess to a preference for clear-cut situations, for radical and even extreme positions. But I also feel a secret and very strong attraction to ambiguous situations… for example, that hovering moment when it is no longer day and not yet night, the shades of emotion between indifference and friendship… (they) are so fascinating because they are so indefinable. That which is pure transition, is all the more appealing to the mind because of its elusiveness. It is the same in the cases of Mondrian, Kandinsky and the Cubists: abstraction and figuration have a common frontier in their work that is so tenuous that we often do not know which side we are on. It is this ambiguity that imports a rare poetic charm to their paintings. Artists like Klee, Miro and Dubuffet have also pitched their tents on this borderline and constantly travel from one side tot the other.”

Michel Seuphor (1901–1999) designer, draughtsman, painter

Source: Abstract Painting (1964), pp. 43/44: (1962)

“Creative children do not paint. They mess around. If they have to draw, creative children always end up being the ridiculous kind of child, who produces childern′s drawings Creative children wipe spinach round their gobs, that′s all. Any thing more that these crappy daubnings is the result of education-and before long we′re on a level with Paul Klee.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 51 (Ibid., p. 45.)

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