“But we had no contact with the painters of the Dachau and Worpswede School [where a. o. Paula Modersohn-Becker was settled as starting woman artist]. It was only much later, for instance, that we discovered that Hoelzel had already been experimenting with non-objective compositions as early as 1908. We [the Blaue Reiter artists] were only a group of friends who shared a common passion for painting as a form of self-expression.”

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

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Gabriele Münter24

German painter 1877–1962

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“Each of us [the Der Blaue Reiter (Blue Rider) artists] was interested in the work of the other members of our group, much as each of us was also interested in the health and happiness of the others. But we were still far from considering ourselves as a group or a school of art... I don't think we were ever as programmatic in out theories, as competitive or a self-assertive, as some of the modern [art] schools of Paris.”

Gabriele Münter (1877–1962) German painter

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

“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
1926 – 1931

“Of course, I painted before Cobra, as afterwards. Each one of us [CoBrA-artists] had his own personality. Cobra is only a very short period of my life. It was like a crossroads. We crossed paths and each continued on his way.... We [artists] are not born to form groups. A group that lasted for too long would destroy the creative activity of its members.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Quote of Appel in an interview with fr:Michel Ragon, 1963; as quoted in; Karel Appel, a gesture of colour, Jean-François Lyotard, (original French text of 1992 based upon intensive correspondence with Karel Appel), Christine Buci-Glucksmann, Herman Parret; University Press, Leuven, Belgium, 2009, p. 105
fr:Michel Ragon asked Appel: 'Without Cobra, would you have been what you are today?'

“I still think that Boccioni was a great artist and a passionate man. I like El Lissitsky's painting very much. But Mondrian that great merciless artist, is the only one who had nothing left over. The point they all had in common was to be both inside and outside at the same time. A new of likeness!... for me to be inside and outside is to be in an unheated studio with broken windows in the winter.”

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

“The artist's tool or the traditional artist's brush and maybe even oil paint are all disappearing very quickly. We use mostly commercial paint, and we generally tend toward lager brushes. In a way, Abstract Expressionism started this all. De Kooning used house painter's brushes and house painters' techniques.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 120

“Worpswede, Worpswede, Worpswede! [small rural village in North-Germany were a colony of German artists was working then, including Paula] My sunken Bell mood! Birches, birches, pine trees and old willows. Beautiful brown moors – exquisite brown! The canals with their black reflections, black as asphalt..”

Paula Modersohn-Becker (1876–1907) German artist

Quote from her Journal, Worpswede 1897; as cited in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 192
1897

“[An artist must apply] his personal faculties to the ideas and the events of the times in which he lives... [A]rt in painting should consist only of the representation of things which that are visible and tangible to the artist. Every age should be represented only by its own artists, that is to say, by the artist who have lived in it. I also maintain that painting is an essentially concrete art form and can exist only of the representation of both real and existing things... An abstract object, not visible, nonexistent, is not within the domain of painting.”

Gustave Courbet (1819–1877) French painter

Quote in an open letter ('Credo'), (Paris, end of December 1861), published in the 'Courier du Dimanche', (addressed to prospective students); as quoted in Letters of Gustave Courbet, transl. & ed. Petra ten-Doesschate Chu, University of Chicago Press 1992, pp. 203-204
1860s

“Only when the habit of one's consciousness to see in paintings bits of nature, Madonna's and shameless nudes.... has disappeared, shall we see a pure painting composition. I have transformed myself into the nullity of forms and pulled myself out of the circle of things, out of the circle-horizon in which the artist and forms of nature are locked.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

as quoted in: Marc Chagall, – a Biography, Sidney Alexander, Cassell, London, 1978, p. 178
1910 - 1920

“What we [Brücke-artists] had to remove ourselves from [the German bourgeois mores] was clear; where we were heading was certainly less clear.”

Erich Heckel (1883–1970) German artist

original German: Wovon wir weg mussten, war uns klar. Wohin wir kommen würden, stand allerdings weniger fest <br class="br">Quote of Heckel in: Ernst Ludwig Kirchner: ein Künstlerleben in Selbstzeugnissen, Andreas Gabelmann; Hatje Cantz Verlag, Ostfildern, Germany 2010; as cited in Claire Louise Albiez https://www.researchgate.net/publication/272168564 (incl. translation), Brücke und Berlin: 100 Jahre Expressionismus; submitted to the Division of Humanities New College of Florida, Sarasota, Florida, May 2013, p. 24

“The editors of the Blaue Reiter will now be the starting point for new exhibitions... We will try to become the center of the new movement. The association may assume there the role of the new”

Franz Marc (1880–1916) German painter

Scholle
Quote from a letter to his brother (4 Dec. 1911); as cited in 'Lankheit, Almanac 14'; as quoted in 'Leaders', in Movement, Manifesto, Melee: The Modernist Group, 1910-1914, Milton A. Cohen, Lexington Books, Sep 14, 2004, p. 67
1911 - 1914

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Gabriele Münter24

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