
from his memoirs, 1936/41: in Lebenserinnerungen (Memories), Alexej Jawlensky - Köpfe-GesichteMeditationen (Heads-Faces-Meditations), ed. Clemens Weiler (Hanau: H. Peters, 1970), p. 106
1936 - 1941
quote from Jawlensky's memoirs, 1936/41: Lebenserinnerungen (Memories) p. 119; as cited in Exile, the Avant-Garde, and Dada: Women Artists Active in Switzerland during the First World War http://www.jstor.org/stable/10.1163/j.ctt1w8h0q1.10, by Isabel Wünsche, p. 66
Jawlensky was very pleased with this move from Zurich to Ascona; Werefkin arranged this family's move after Jawlensky fell gravely ill with the Spanish flu. A few years later Jawlensky would leave here.
1936 - 1941
from his memoirs, 1936/41: in Lebenserinnerungen (Memories), Alexej Jawlensky - Köpfe-GesichteMeditationen (Heads-Faces-Meditations), ed. Clemens Weiler (Hanau: H. Peters, 1970), p. 106
1936 - 1941
only Gabriele Münter was German, of the four artists here mentioned
Source: Interview by Edouard Roditi (1958), p. 115
“The edge of the sea is a strange and beautiful place.”
Source: 2000 - 2011, Cy Twombly, 2000', by David Sylvester (June 2000), p. 173
A Grief Observed (1961)
Context: But perhaps I lack the gift. I see I've described her as being like a sword. That's true as far as it goes. But utterly inadequate by itself, and misleading. I ought to have said 'But also like a garden. Like a nest of gardens, wall within wall, hedge within hedge, more secret, more full of fragrant and fertile life, the further you explore.'
And then, of her, and every created thing I praise, I should say 'in some way, in its unique way, like Him who made it.'
Thus up from the garden to the Gardener, from the sword to the Smith. to the life-giving Life and the Beauty that makes beautiful.
original German version: 'Es fiel mir schwer, so plötzlich abzureisen, da ich dies Jahr vollständig in der Landschaft und dem Leben da oben aufging und nur fast ohne Bewusstsein zuzugreifen brauchte.'
as quoted in: Ernst Ludwig Kirchner: ein Künstlerleben in Selbstzeugnissen, Andreas Gabelmann; Hatje Cantz Verlag, Ostfildern, Germany 2010, p. 41 (transl. Claire Albiez )
As Kirchner had been busying himself with nature images since the Summer of 1913, the outbreak of World War 1. brought him back to reality; as he describes here
undated