“The first colours which made a strong impression on me were light juice green, white, crimson red, black and yellow ocher. These memories go back to the third year of my life. I saw these colours on various objects [houses and roofs, in Russia] which are not as clear in my mind as the colours themselves.”

Source: 1916 -1920, Autobiography', 1918, p. 9

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Wassily Kandinsky68

Russian painter 1866–1944

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“Use materials with forceful MUSCULAR colours – the reddest of reds, the most purple of purples, the greenest of greens, intense yellows, orange, vermillion – and SKELETON tones of white, grey and black.”

Giacomo Balla (1871–1958) Italian artist

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“We have seven colours — violet, indigo, blue, green, yellow, orange and red (Roy G. Biv). Our atmosphere has a number of particles and when light falls on them, it gets scattered. With blue colour having less wavelength and more scattering qualities, it scatters and makes the sky blue. While red colour has opposite qualities than blue so traffic lights are of this colour.”

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“I close my eyes halfway just as when I conceive paintings and I see the houses 'Dunkelbunt' -glowing in pure strong and deep colours a little sad like seem on a rainy day instead of ugly cream colour and green meadows on all roofs instead of corrugated iron. p.6”

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Island of Lost Desires (1980)

“.. 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

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“I have been deeply interested during the last ten years in the use of colour with form. I have applied oil colour – white, grey, and blues of different degrees of tone... I have been very influenced by the natural colour and luminosity in stones and woods and the change in colour as light travels over the surface contours. When I pierced the material tight through a great change seemed to take place in the concavities from which direct light was excluded. From this experience my use of colour developed.”

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Madame de La Fayette book La Princesse de Clèves

La Princesse de Clèves (1678) (Kessinger Publishing, 2004, ISBN 1419178717), p. 89

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Wassily Kandinsky68

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