“I can dimly recollect Kandinsky and Weisgerber, who were fellow students of mine... Kandinsky was quiet and mixed the colours on his palette with the greatest diligence and, so it seemed to me, with a kind of studiousness, peering very closely at what he was doing.”

—  Paul Klee

Klee in a autobiographical text for Wilhelm Hausenstein, 1919; as quoted in Klee & Kandinsky, 2015 exhibition text – exposition, Lenbachhaus und Kunstbau Munich, from 21 October 2015 to 24 January 2016: on https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html
1916 - 1920

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "I can dimly recollect Kandinsky and Weisgerber, who were fellow students of mine... Kandinsky was quiet and mixed the c…" by Paul Klee?
Paul Klee photo
Paul Klee 104
German Swiss painter 1879–1940

Related quotes

Gabriele Münter photo

“As a student of Franz von Stück he Kandinsky still continued for a while to paint quite naturalistically. He admitted to me that he had always loved color, even as a child, far more than subject matter. Form and color were his main interests. To me he often remarked that 'objects disturb me.”

Gabriele Münter (1877–1962) German painter

But he could paint portraits, too.
Source: Interview by Edouard Roditi (1958), p. 116

Gabriele Münter photo

“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

Gabriele Münter photo

“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

“The fellow who is able to get the grants and contracts is the fellow who gets the doctoral students. Each student publishes two or three papers on his thesis, in each of which he cites his professor's work. Then he goes on and does his own subsequent work, in which, of course, he cites those thesis papers which were coauthorised by his professor.”

Robert E. Machol (1917–1998) American systems engineer

Robert Machol in: " Now it is to be cited or perish http://books.google.com/books?id=wHphHUhDk7wC&pg=PA491." New Scientist. Vol. 67, nr. 964. August 28, 1974. p. 491

Leonardo DiCaprio photo

“We were peers, I think. Leo's an incredibly intelligent guy who's been through a great amount of life experience over the course of the last few years. He's very dedicated and I think he had a very good idea of what he wanted to do and how he wanted to do it.”

Leonardo DiCaprio (1974) American actor and film producer

Tom Hanks speaking on the working relationship he has with Leonardo DiCaprio on the set of Catch Me If You Can http://www.bbc.co.uk/films/2003/01/16/tom_hanks_catch_me_if_you_can_interview.shtml
About

Richard Stallman photo

“I've always lived cheaply. I live like a student, basically. And I like that, because it means that money is not telling me what to do. I can do what I think is important for me to do. It freed me to do what seemed worth doing.”

Richard Stallman (1953) American software freedom activist, short story writer and computer programmer, founder of the GNU project

2000s, Free Software: Freedom and Cooperation (2001)
Context: !-- I was getting 8 to 10 orders [for tapes of Emacs] a month. And, if necessary, I could have lived on just that, because --> I've always lived cheaply. I live like a student, basically. And I like that, because it means that money is not telling me what to do. I can do what I think is important for me to do. It freed me to do what seemed worth doing. So make a real effort to avoid getting sucked into all the expensive lifestyle habits of typical Americans. Because if you do that, then people with the money will dictate what you do with your life. You won't be able to do what's really important to you.<!-- line 422

Jeet Thayil photo

“I could feel my colour. I could feel racism…in the way people looked at you, and the way they talked to you. Now, though, because of the mixing of cultures, it seems like some kind of brilliant social experiment…In some ways it seems to me the city of the future.”

Jeet Thayil (1959) Indian writer

In the cultural scene in London
Jeet Thayil on why 'Where are you from?' is a complicated question for all of us

Willem de Kooning photo

“Kandinsky understood 'form' as a form, like an object in the real world; and a object, he said, was a narrative – and so, of course, he disapproved of it. He wanted ‘his music without words’. He wanted to be 'simple as a child'. He intended, with his 'inner-self' to rid himself of 'philosophical barricades' (he sat down and wrote something about all this). But in turn his own writing has become a philosophical barricade, even it is a barricade full of holes. It offers a kind of Middle European idea of Buddhism or, anyhow, something too theosophical for me.”

Willem de Kooning (1904–1997) Dutch painter

De Kooning's speech 'What Abstract Art means to me' on the symposium 'What is Abstract At' - at the Museum of Modern Art, New York, 5 February, 1951, n.p.
1950's

Gabriele Münter photo

“My main difficulty was that I could not paint fast enough. My pictures are all moments of my life – I mean instantaneous visual experiences, generally noted very rapidly and spontaneously. When I begin to paint, it's like leaping suddenly into deep waters, and I never know beforehand whether I will be able to swim. Well, it was Kandinsky who taught me the technique of swimming. I mean that he taught me to work fast enough, and with enough self-assurance, to be able to achieve this kind of rapid and spontaneous recording of moments of life.”

Gabriele Münter (1877–1962) German painter

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

Don Soderquist photo

“One of the greatest things Sam Walton taught me is that a leader stays involved in his business and close to his people so that he can determine the best course of action without wasting time.”

Don Soderquist (1934–2016)

Don Soderquist “ The Wal-Mart Way: The Inside Story of the Success of the World's Largest Company https://books.google.com/books?id=mIxwVLXdyjQC&lpg=PR9&dq=Don%20Soderquist&pg=PR9#v=onepage&q=Don%20Soderquist&f=false, Thomas Nelson, April 2005, p. 118.
On Leading Well

Related topics