“.. 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

'..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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Wassily Kandinsky 68

Russian painter 1866–1944

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“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.”

Wassily Kandinsky (1866–1944) Russian painter

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

“We [ Kandinsky and Gabriele] came here [in Murnau, near Munich] together, on a brief visit, for the first time in 1908, in June, and we were both delighted with the town and its surroundings. In August, we then returned to Murnau for two months, with Jawlensky and Marianne Werefkin.... Kandinsky fell in love with it [with the house in Murnau where Gabriele lived, till 1962] and said: 'You must buy it for our old age'. So I bought it and we then made it our home until he returned to Russia in 1914. Jawlensky and Marianne [Werefkin] used to stay with us here, and the people of Murnau called it: 'The House of the Russians”

Gabriele Münter (1877–1962) German painter

only Gabriele Münter was German, of the four artists here mentioned
Source: Interview by Edouard Roditi (1958), p. 115

“At first I intended to carry on working in Saint-Prex [in Switzerland, circa 1914 – 1915] in the same way I had been working in Munich [the location of his Blaue Reiter / Blue Rider period]. But something inside me prevented me from painting colourful, sensuous pictures. Suffering had changed my soul, telling me to find other forms and colours to express what was on my mind.”

Alexej von Jawlensky (1864–1941) Russian painter

from: 'Köpfe, Gesichte, Meditationen', Clemens Weiler
Source: 1936 - 1941, Life Memories' (1938), p. 149

“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”

Friedensreich Hundertwasser (1928–2000) Austrian artist

Island of Lost Desires (1980)

“I now began to search for a new path in art [from 1914, with the outbreak of World War 1. ]. It was a major task. I understood that I did not have to paint what I saw, not even what I felt, but only that which lived within me, in my soul. To put it in symbolic terms, it is like this: I felt within myself, within my breast, the keyboard of an organ and I had to make it resonate. And the nature that was in front of me served me only as a prompter. And that was a key that unlocked this organ and made it resonate. In the beginning it was very difficult. But little by little, it became easy for me to use colours and forms to find what was within my soul.”

Alexej von Jawlensky (1864–1941) Russian painter

In his letter, 12 June, 1938 to P. Willibrord Verkade, as quoted in Alexej von Jawlensky, der Maler und Mensch, , Clemens Weiler; Wiesbaden 1955, pp. 39 ff
1936 - 1941

“Beforehand I don't make any drawing of the object or objects which I want to paint on the canvas or panel.... but I start directly to situate the designed plan on the canvas - After having thoroughly sketched and thought over my composition, especially the arrangement of light and dark, I start to paint it broadly with oil-paint and try as much as possible to achieve the hue or the colouring, in which I want to see my landscape.... when it is definitely completed.”

Barend Cornelis Koekkoek (1803–1862) painter from the Northern Netherlands

(original Dutch, citaat van B.C. Koekkoek:) Ik maak vooraf geene tekeningen van het voorwerp of de voorwerpen, die ik op het doek of paneel wil schilderen.. ..maar begin dadelijk het ontworpen plan op het doek te plaatsen – Na mijne compositie eerst behoorlijk geschetst en beredeneerd te hebben, voornamelijk de schikking van licht en donker, begin ik dezelve met olieverw breed te schilderen, zoveel trachtende de tint of het coloriet er in te brengen, in welke ik mijn landschap.. ..wil gezien hebben.. ..als het geheel afgeschilderd is.
Source: Herinneringen aan en Mededeelingen van…' (1841), p. 98-99

“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.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1932 - 1946, The Studio 132:643', (1946), p. 279

“The clean clear colours [of a Shanty farm] were in my head. But one day as I looked at the brown burned wood of the Shanty, I thought 'I can paint one of those dismal-coloured paintings like the men. I think just for fun I will try — all low-toned and dreary with the tree besides the door.' In my next show [c. 1923], 'The Shanty' went up. The men seemed to approve of it. They seemed to think that maybe I was beginning to paint…. that was my only low-toned dismal-coloured painting.”

Georgia O'Keeffe (1887–1986) American artist

1970 - 1986, Some Memories of Drawings (1976)

“It gives my brain a rest, painting flowers. I don't feel the same tension as when I have a model in front of me. When I paint flowers, I put on colours and try out values boldly, without worrying about wasting a canvas. I wouldn't dare to do it with a figure; I'd be afraid of spoiling the whole thing. And the experience I gain this way is then applied to my pictures.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Source: undated quotes, Renoir – his life and work, 1975, p. 196 : quote on painting flowers, to art-buyer George Riviere, who was watching a flower still-life of Renoir.

“You [the interviewer Edouard Roditi, in 1958] have probably understood that I had always been mainly a plain-air painter, though I also painted portraits and still-life compositions. At first I experienced great difficulty with my brushwork – I mean with that the French call 'la touche de pinceau'. So Kandinsky taught me how to achieve the effects that I wanted with a palette knife. In the view from my window in Sèvres, that I painted in 1906, when we were together in France, you can see how well he taught me. Later of course, here in Murnau, I learned to handle brushes, too, but I managed this by following Kandinsky's example, first with a palette knife, than with brushes.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 120

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Wassily Kandinsky 68

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