“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

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

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 met him Kandinsky shortly after my return to Germany from the United Sates. At first, I lived for a while in Bonn... …" by Gabriele Münter?

Gabriele Münter 24

German painter 1877–1962

Related quotes

“In the autumn of 1884 I went to Paris. The spirit that greeted me was certainly more impressive than in Germany. I studied in a famous school. The French who I met there seemed to me not at all equipped. Traditional views. I was there for three years. I never found a talent. Among the Germans, in particular at the Academy of Munich, there was a lot more momentum. I admire the French painting from Watteau to Monet, otherwise there is nothing that can be said to be exceptional.”

Lovis Corinth (1858–1925) German painter

Quote, 1923; in Lovis Corinth, Selbstbiographie, L. Corinth; Hirzel, Leipzig, 1926, p. 190; as quoted in: German Artists' Writings in the XX Century - Lovis Corinth, Autobiographic Writings. Part two http://letteraturaartistica.blogspot.nl/2014/10/german-artists-writings-in-xx-century.html

“Kandinsky in Munich uttered the well known words: 'Everything is permitted!' In 1961; we still live by this heritage, which in truth is inexhaustible.”

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

Source: Abstract Painting (1964), p. 12

“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.”

Gabriele Münter (1877–1962) German painter

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

“In my youth, and even in the first years of my Munich period after the war, I never shunned the company of Marxists of any shade. I was of the opinion that one or other of them showed promise.”

Hermann Rauschning (1887–1982) German politician

Source: The Voice of Destruction (1940), p. 187

“.. 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

“Never for one single moment have I doubted the rightness of what I did at Munich, nor can I believe that it was possible for me to do more than I did to prepare the country for war after Munich, given the violent & persistent opposition I had to fight against all the time.”

Neville Chamberlain (1869–1940) Former Prime Minister of the United Kingdom

Letter to Stanley Baldwin (17 October 1940), quoted in Keith Feiling, Neville Chamberlain (London: Macmillan, 1946), p. 456.
Post-Prime Ministerial

“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

“.. I let myself go.. [in Kandinsky's Murnau-period when he was painting in open air; c. 1908 – 1914] I thought little of the houses and trees, but applied colour stripes and spots to the canvas with the knife and made them sing out as strongly as I could. Within me sounded the memory of early evening in Moscow, before my eyes was the strong, colour-saturated scale of the Munich light and atmosphere, which thundered deeply in the shadows.”

Wassily Kandinsky (1866–1944) Russian painter

'..stripes and spots with the knife', as he learned then also Gabriele Münter - they frequently painted together in open air
Source: 1916 -1920, Autobiography', 1918, p. 31

“Kandinsky wants to organize a new society of artists. I came to feel a deep trust in him [ Kandinsky ]. He is somebody, and has an exceptionally beautiful and lucid mind.”

Paul Klee (1879–1940) German Swiss painter

Quote from Diaries III, 1911; as quoted by Enric Jardi, Paul Klee, Rizzoli Intl Pubns, 1991 - ISBN 0-8478-1343-6, p 12
In Autumn 1911 Klee made an acquaintance with August Macke and Kandinsky, and in winter he joined the editorial team of the almanac Der Blaue Reiter. After meeting Kandinsky in Munch, Klee recorded this.
1911 - 1914

“I do not believe that art must develop on national lines, but I am convinced that there never was and never will be an international art. There is and was French, German, Italian, and Flemish art. But I deny those specific definitions so fashionable with adepts of fascism which make of every country an hermetic cell from which all foreign artists are excluded. [shortly after the end of the German occupation]”

Ossip Zadkine (1890–1967) French sculptor

quote, New York, early 1944; as cited in: Artists on Art – from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 430
1940 - 1960

Help us to complete the source, original and additional information

Gabriele Münter 24

Related quotes

Related topics