“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

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

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Gabriele Münter 24

German painter 1877–1962

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“We [ Franz Marc & Kandinsky] thought up the name [ Der Blaue Reiter (Blue Rider)] while sitting at a cafe table... Both of us were fond of blue things, [Franz] Marc of blue horses, and I of blue riders. So the title suggested itself.”

Wassily Kandinsky (1866–1944) Russian painter

as quoted in Wassily Kandinsky: Life and Work, Will Grohmann. H. N. Abrams, 1958 p. 78
1920 - 1930

“I think we were all more interested in being honest than in being modern. That's why there could be such great differences between the styles of the various members of our group... They had great faith in each other. I think that each of them knew that the other, as an artist, was absolutely honest. Whenever Kubín came to Munich from his nearby country retreat, they [Kandinsky and Kubin] spent many hours together, and I wish I had been able to take down in shorthand some of their conversations. Their ideas about art and life were so different.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 118

“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.”

Gabriele Münter (1877–1962) German painter

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

“.. 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

“I have just been thinking that the Blaue Reiter (Blue Rider) does not really represent my work. I have always been convinced that other things of mine are more important… Narcism, fake heroism, and blindness have a lot to answer for, in the 'Blaue Reiter'. All those high-sounding words about the birth of a great spiritual moment still resounding in my ears. Kandinsky can air his personal opinion about that or any other revolution he cares to mention. But I dislike the whole thing… Take my advice – work, and don't spent so much time thinking about blue riders or blue horses.”

August Macke (1887–1914) German painter of the expressionist group Der Blaue Reiter

In a letter to his friend Franz Marc (Jan. 1912), quoted in 'Meseure 38'; as quoted in Movement, Manifesto, Melee: The Modernist Group, 1910-1914, Milton A. Cohen, Lexington Books, Sep 14, 2004, p. 73, (note 19)

“Things weren’t the same with us, not right away, and maybe not ever. We were growing up. We were still figuring out how to be in each other’s lives without being everything to each other.”

Jenny Han (1980) American writer

Source: We'll Always Have Summer

“The laws of art are eternal and don't change at all, as the moral laws don't change in human beings. [arguing with Franz Marc who demanded in 'Der Blaue Reiter' circa 1912 a new modern art, in relation to its own - changing - time].”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

as quoted in the exhibition, 'Expressionisten, die Avantgarde in Deutschland 1905 - 1920', catalog Nationalgalerie Berlin, DDR, 1986, p. 109
1900s - 1920s

“So I say, let us judge each other by our actions, not by theories, not by what we happen to believe -- because that depends very much on where we were born.”

Robert G. Ingersoll (1833–1899) Union United States Army officer

The trial of Charles B. Reynolds for blasphemy (1887)

“Boys and girls don't pair off at birth and scurry off to a dank cave together. Humans have always been social animals. We live in cooperative groups. Our bodies sort us out into groups of males or females. We interact socially as members of one group or the other. These groups aren't arbitrary or cultural- they're basic and biological. Males have to negotiate male and female groups as males. Males aren't simply reacting to female groups as males. We react to other males, as males. Who we are has a lot to do with how we see ourselves in relationship to other males, as members of the male group.”

Jack Donovan (1974) American activist, editor and writer

Pg 1
The Way of Men (2012)

“At the present time the issue is the self-interest of several immense nation-groups. The result is much as it would be if the four quarters of a person’s body were arrayed against each other, and the circulation impeded between them. Economical chaos and frustration is the result, on a world scale.”

Vera Stanley Alder (1898–1984) British artist

Source: Humanity Comes of Age, A study of Individual and World Fulfillment (1950), Introduction p. I - XII

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