“We can only assert here, with especial satisfaction, that Gabriele Münters talent, robust, rooted in an inward strength and sensitivity, in fact genuinely German, should in no circumstances be assessed as masculin, or as 'quasi-masculine'. This talent – and we emphasize it, once more, with great satisfaction – can only be described as exclusively and purely feminine… Gabriele Münter doesn't paint feminine subjects, she does not work with feminine materials, and does not permit herself any feminine coquetry. Their are neither raptures, nor agreeable exterior elegance, nor appealing weaknesses to be found here.”

— Wassily Kandinsky

Quote of Kandinsky, in the introduction of an exhibition-catalog 'Neue Künstlervereinigung', 1913, Munich; as cited by , in Expressionism; Praeger Publishers, New York, 1973, p. 119-120
1910 - 1915

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Wassily Kandinsky68

Russian painter 1866–1944

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“Nor, on the other hand, are there any masculine charms [in Gabriele Münter's work] either: no 'sinewy brushwork', no heaps of paint, 'hurled on to the canvas'. The pictures are painted throughout with a delicately and correctly sensed measure of external strength, with not a trace of feminine or masculine coquetry in the 'making'. We could almost say that they are painted modestly; i. e. that they were inspired, not by a desire for outward display, but by a purely inward compulsion.”

Wassily Kandinsky (1866–1944) Russian painter

Quote of Kandinsky, 1913; in the introduction of an exhibition-catalog 'Neue Künstlervereinigung', Munich; as cited by , in Expressionism; Praeger Publishers, New York, 1973, p. 120
1910 - 1915

“Why there are so many great actresses, so few great woman writers? The erotic urge that lies at the bottom of all art has a feminine and a masculine character. Feminine is the urge to be; masculine the urge to do. Interpretative art always has more of the feminine about it”

Max Frisch (1911–1991) Swiss playwright and novelist

Sketchbook 1946-1949

“It is arrogance in us to call frankness, fairness and chivalry “masculine” when we see them in a woman; it is arrogance in them, to describe a man's sensitiveness or tact or tenderness as “feminine.””

Clive Staples Lewis book A Grief Observed

A Grief Observed (1961)

“It is a woman's outstanding characteristic that she can do anything for the love of a man. But those women who can achieve something important for the love of a thing are most exceptional, because this does not really agree with their nature. Love for a thing is a man's prerogative. But since masculine and feminine elements are united in our human nature, a man can live in the feminine part of himself, I and a woman in her masculine part. None the less the feminine element in man is only something in the background, as is the masculine element in woman. If one lives out the opposite sex in oneself one is living in one's own background, and one's real individuality suffers. A man should live as a man and a woman as a woman.”

C.G. Jung (1875–1961) Swiss psychiatrist and psychotherapist who founded analytical psychology

Source: "Woman in Europe" (1927), P. 243

“The new earth does not belong to men and it does not belong to women. It is a co-creation that depends on divine feminine and divine masculine both coming into their full respective power.”

Teal Swan (1984) American spiritual teacher

“At no point do I wish to be in conflict with any man or masculine thought. It doesn't enter my consciousness. I think art is anonymous. It's not competitive with men. It's a complementary contribution. I've said that and I do believe it, that one does contribute to art and that's nothing to do with being male or female... I don't think a good work of art can just be said to be feminine or masculine.... art's either good or isn't.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1961 - 1975, Art Talk, conversations with 15 woman artists', (1975), pp. 15-16

“People more readily credit men with leadership ability and more readily accept men as leaders. What is assertive in a man can appear abrasive in a woman, and female leaders risk appearing too feminine or not feminine enough.”

Barbara Kellerman (1939) American academic

Source: Women and leadership, 2007, p. 7

“Even Plato assumes that the genuinely perfect condition of man means no sex distinction (and how strange this is for people like Feuerbach who are so occupied with affirming sex-differentiation, regarding which they would do best to appeal to paganism). He assumes that originally there was only the masculine (and when there is no thought of femininity, sex-distinction is undifferentiated), but through degeneration and corruption the feminine appeared. He assumes that base and cowardly men became women in death, but he still gives them hope of being elevated again to masculinity. He thinks that in the perfect life the masculine, as originally, will be the only sex, that is, that sex-distinction is a matter of indifference. So it is in Plato, and this, the idea of the state notwithstanding, was the culmination of his philosophy. How much more so, then, the Christian view.”

Sören Kierkegaard (1813–1855) Danish philosopher and theologian, founder of Existentialism

Journals VA 14
1840s, The Journals of Søren Kierkegaard, 1840s

“Many feminists have been grieved or aggrieved by The Left Hand of Darkness because the androgynes in it are called ‘he’ throughout. In the third person singular, the English generic pronoun is the same as the masculine pronoun. A fact worth reflecting upon. And it’s a trap, with no way out, because the exclusion of the feminine (she) and the neuter (it) from the generic/masculine (he) makes the use of either of them more specific, more unjust, as it were, than the use of ‘he.’ And I find made-up pronouns, ‘te’ and ‘heshe’ and so on, dreary and annoying.”

Ursula K. Le Guin (1929–2018) American writer

Introduction to the story “Winter‘s King” p. 85
Short fiction, The Wind’s Twelve Quarters (1975)

“That only a few, under any circumstances, protest against the injustice of long-established laws and customs, does not disprove the fact of the oppressions, while the satisfaction of the many, if real only proves their apathy and deeper degradation.”

Elizabeth Cady Stanton (1815–1902) Suffragist and Women's Rights activist

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