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“After a short period of agony, I took a great leap forward from copying nature, in a more or less impressionist style, to feeling the content of things.”

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Gabriele Münter

as quoted in the text of the exhibition 'Kandinsky and der Blaue Reiter', Gemeentemuseum the Hague, Netherlands; February-June, 2010
Gabriele refers to the big change she made, before the period of her first Murnau landscape paintings (c. 1904 - 1914), when she lived and worked together with Kandinsky].

“My main difficulty was that I could not paint fast enough. My pictures are all moments of my life – I mean instantaneous visual experiences, generally noted very rapidly and spontaneously. When I begin to paint, it's like leaping suddenly into deep waters, and I never know beforehand whether I will be able to swim. Well, it was Kandinsky who taught me the technique of swimming. I mean that he taught me to work fast enough, and with enough self-assurance, to be able to achieve this kind of rapid and spontaneous recording of moments of life.”

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Gabriele Münter

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

“As I came to Munich in 1901 it was in a period of great artistic renewal. Jugendstil began in its way to attack the old naturalism and to cultivate the qualities of pure line.”

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Gabriele Münter

as quoted in Kandinsky, Frank Whitford, Paul Hamlyn Ltd, London 1967, p. 11

“They [Jawlensky and Münter] often lived here in our Murnau house. But Paul Klee and Franz Marc were also close friends, and August Macke, too, whenever he was in Munich... Klee was never as active a theorist, in those years, as Kandinsky or Marianne de Werefkin. Besides, it took Klee much longer to become a truly and conscious modern artist... As you can see in my portrait of Klee, which is painted in 1913 – I mean the one where he is seen seated in one of the rooms here downstairs and wearing white summer slacks – he is not very communicative. That is why I depicted him all hunched up and tense, as if he were constraining some mainspring within himself. In my eyes, it was almost a portrait of silence rather than of Klee, and for many years it no longer occurred to me that he had been my model. But Klee was always a close friend of ours, and Kandinsky and I had great confidence in his talent and his future.”

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Gabriele Münter

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

“Kandinsky was an optimist; he had been interested, at first, in fairy tales and legends and chivalrous themes of the past, but he then became increasingly interested, after 1908, in formulating what he called the art of the future rather than indulging in romantic visions of the past. Kubin, on the other hand was a pessimist, always haunted by the past and suspicious of the future. This basic difference in their temperaments made their discussions all the more fruitful, and their friendship was the more intense.”

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Gabriele Münter

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

“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”

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Gabriele Münter

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

“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.”

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Gabriele Münter

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

“Our sketchbooks and studies – as well as the paintings and photos, convey the detail of our [Gabriele with Kandinsky, 1905] Tunisian impressions. At times we got along well – at times not at all – we took walks in the city and also in the Belvedere park – it was never boring with my beloved [ Kandinsky ], but we didn't made contact with any other people; he never wanted it.”

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Gabriele Münter

Quote of Gabriele Münter in her 'Memoir entries' for 1905; as cited by Roger Benjamin, Cristina Ashjian, in Kandinsky and Klee in Tunisia; Univ. of California Press, 18 Aug 2015

“.. the rejection of impressionistic copies of nature and a move towards sensing the content, abstraction, – expressing the extract..”

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Gabriele Münter

as quoted in the exposition-text 'Alexej von Jawlensky', Museum Boymans-van-Beuningen Rotterdam; 25/9 – 27/ 11-1994, p. 21
this quote of Gabriele Münter was the leading idea for her early painting during the period she worked with Kandinsky in and around Murnau..