“As I came to Munich in 1901 it was in a period of great artistic renewal. Jugendstil began in its way to attack the old naturalism and to cultivate the qualities of pure line.”

as quoted in Kandinsky, Frank Whitford, Paul Hamlyn Ltd, London 1967, p. 11

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Gabriele Münter24

German painter 1877–1962

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“I met him Kandinsky shortly after my return to Germany from the United Sates. At first, I lived for a while in Bonn... A year later, in 1901, I decided to move to Munich, but still found very little encouragement as an artist. German painters refused to believe that a woman could have real talent, and I was even denied access, as a student, to the Munich Academy... It is significant that the first Munich artist who took the trouble to encourage me was Kandinsky, himself no German but a recent arrival from Russia.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 115-116

“Did you know that in 1900 I had the bold idea of renewing German art?... First of all I needed to invent a technique of grasping everything while it was in motion, and it was Rembrandts drawings in the Kupferstichkabinett in Munich that showed me how. I practiced seizing things quickly in bold strokes, wherever I was, walking and standing still.... and in this way I learned how to depict movement itself, and I found new forms in the ecstasy and haste of this work.... and to these forms was added pure colour, as pure as the sun generates it.... in line with Goethe's theory [of colours]. It makes pictures much more colorful. Making wood-cuts, which I'd learnt as a fifteen-year-old from my father, helped me to stabler and simpler forms. And armed in this way I returned to Dresden.”

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

In a letter to Curt Valentin, 1937; as quoted in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 38
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“We speak of concrete and not 'abstract painting', because we have finished with the period of research and speculative experience. In their search for purity artists were obliged to abstract from 'natural forms' in which the plastic elements were hidden, in order to eliminate natural forms and to replace them with 'artistic forms'. To-day the idea of 'artistic form' is as obsolete as the idea of 'natural form'. We establish the period of pure painting by constructing 'spiritual form.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Creative spirit becomes concrete.
Quote on 'Concrete art', in: 'Comments on the basic of concrete painting', Paris, January 1930; 'Art Concret', April 1930, pp. 2–4
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“The only way to development(as an artist) cultivating one's own innate powers.”

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Letter to Dr Uhlemayr-Savage Messiah By H S (Jim) Ede Heinimann (1931)

“Isaac Newton’s Philosophae Naturalis Principia Mathematica abstracted time from events, establishing its tractability to scientific calculation. Conceived as pure, absolute duration, without qualities, it conforms perfectly to its mathematical idealization (as the real number line). Since time is already pure, its reality indistinguishable from its formalization, a pure mathematics of change – the calculus – can be applied to physical reality without obstruction. The calculus can exactly describe things as they occur in themselves, without straying, even infinitesimally, from the rigorous dictates of formal intelligence. In this way natural philosophy becomes modern science.”

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"Time in Transition" https://web.archive.org/web/20121113235339/http://www.thatsmags.com/shanghai/article/777/time-in-transition (2011) (original emphasis)

“What is line? It is life. A line must live at each point along its course in such a way that the artist’s presence makes itself felt above that of the model”

Jean Cocteau (1889–1963) French poet, novelist, dramatist, designer, boxing manager and filmmaker

"De la Ligne" in La Difficulté d’Etre [The Difficulty of Being] (1947)
Context: What is line? It is life. A line must live at each point along its course in such a way that the artist’s presence makes itself felt above that of the model... With the writer, line takes precedence over form and content. It runs through the words he assembles. It strikes a continuous note unperceived by ear or eye. It is, in a way, the soul’s style, and if the line ceases to have a life of its own, if it only describes an arabesque, the soul is missing and the writing dies.

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Wifredo Lam (1902–1982) Cuban artist

On painting after returning to Cuba in “Wifredo Lam: Man of the World” https://www.tate.org.uk/context-comment/articles/wifredo-lam-man-of-world (Tate; 2016 Aug 16)

“All the pictures [in the exhibition, 1910] include a plus-factor, which robs the public [in Munich] of her pleasure but which is in every case the principal merit of the work; the completely spiritualized, de-materialized awardness of perception, which our fathers, the artists of the nineteenth century, never even tried to achieve in their 'pictures'. This bold undertaking, to take the 'matiere', which Impressionism sank its teeth into, and spiritualize it, is a necessary reaction, which began with Gauguin in Pont-Aven, and has already fostered innumerable experiments… The way the Munich public condemns the exhibition is almost amusing.”

Franz Marc (1880–1916) German painter

Franz Marc's note on the reception of the second exhibition of the 'Neue KünstlerVereinigung' in Munich, September 1910; as cited by , in Expressionism; Praeger Publishers, New York, 1973, p. 125
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“With the sedentarisation of people they began to form an idea of the area that they lived in, its extension and its boundaries, which were mostly determined by nature and the feature of the landscape. Clans and tribes that had settled in a certain area and lived there for a long period of time.”

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“As I came to Munich in 1901 it was in a period of great artistic renewal. Jugendstil began in its way to attack the old naturalism and to cultivate the qualities of pure line.”

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Gabriele Münter24

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