Gabriele Münter

“information about Gabriële Münter & the Murnau-painters 1906-1914”

“images of graphic and painting art of Gabriële Münter, in Schlossmuseum Murnau”

“Her Impressionistic paintings of 1906-07, painted with the palette-knife, do indeed have considerable similarities to Kandinsky's work of the same period, but the decisive artistic influence on her was Jawlensky.”

“Suddenly I felt that my old dream was closer to coming true. You know that I dreamt of painting a big picture expressing joy, the happiness of life and the universe. Suddenly I feel the harmony of colors and forms that come from this world of joy.”

“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.”

“That [her lessons with Kandinsky] was a new artistic experience; Kandinsky was quite unlike the other teachers, and explained things thoroughly and penetratingly and regarded me as a human being with conscious aspirations, capable of setting myself targets to aim for. It was new to me and impressed me.”

“In 1908, for instance, when I painted my 'Blue Mountain', I had learned the trick. It came to me as easily and naturally as song to a bird. After that, I worked more and more on my own. When Kandinsky became increasingly interested in abstract art, I also tried my hand, of course, at a few improvisations of the same general nature as his. But I believe I had developed a figurative style of my own, or at least one that suited my temperament, and I have remained faithful to it ever since, with occasional short holidays in the realm of abstraction.”

“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.”

“Well, when we [Kandinsky and Gabriéle Münter] first met, Munich was still very much a center of plein-air painting [painting in open air], and Kandinsky himself was a plain-air painter too, to some extent. We used to go out sketching and painting together in the countryside [around Murnau], and he painted a picture of me sketching, and I also did one of him [on board in oil]. That was a long time ago in 1903. It was only some ten years later, when he painted his first 'Improvisations' that he began to work exclusively in his studio.”

“I don't think that Kandinsky was ever really a communist. He just happened to be in Russia [Kandinsky went to Russia in 1914, because of the outbreak of the war, ànd his Russsian nationality] and to become involved in some revolutionary artistic activities because of his reputation as a revolutionary in the arts. In any case, he left Russia as soon as an opportunity arose. But we had parted, by that time, and I prefer not to express any opinion on Kandinsky's later ideas and beliefs, with which I was never familiar.”

“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.”

“I was never interested in being just modern – I mean in creating a new style. I simply painted in whatever style seemed to suit me best. But Kandinsky was a thinker and had to express his ideas in words, so he constantly formulated new theories of art which he liked to discuss with Kubín, who was also a thinker..”

“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.”

“I have now forgotten who was responsible for the original idea (the publication of the Almanac 'Der Blaue Reiter'], perhaps because I have never been particularly interested in theory.. .The 'Neue Künstlerverein' [in Münich] didn't approve of Kandinsky's ideas in 1911 and rejected his Composition No. 5. as too big for their show. So Kandinsky withdrew from the association, and Franz Marc, Kubín ], Le Fauconnier and I followed this lead. It was then that Kandinsky began to write the book that became 'Der Blaue Reiter'.”

“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.”

“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.”

“As far as I am concerned, I learned this technique [the use of flat areas, painted in bright color - sometimes in contrasting juxtaposition, sometimes like pieces of colored glass in heavy dark outlines] from Kandinsky and, at the same time, from the glass paintings of the Bavarian peasants of the Murneau area, who had painted for centuries in this style.”

“They [Kandinsky, Jawlensky and Paul Klee ] were constantly arguing about art and each of them, at first, had his own ideas and his own style. Jawlensky was far less intellectual than Kandinsky or Klee and was often frankly puzzled by their theories. My 1908 portrait entitled 'Zuhören' ('Listening') actually represents Jawlensky, with an expression of puzzled astonishment on his chubby face, listening to Kandinsky's new theories of art.”

“He Kandinsky had always expressed a great interest in abstraction when we visited Tunisia together in 1904. The Moslem interdiction of representational painting seemed to stir his imagination and that was when I first heard him say that objects disturbed him. Between 1907 and 1910 [the period in which Kandinsky painted his first abstract compositions], he began to rely increasingly on his own theories of art, which many of his friends could understand only with great difficulty.”

“As a student of Franz von Stück he Kandinsky still continued for a while to paint quite naturalistically. He admitted to me that he had always loved color, even as a child, far more than subject matter. Form and color were his main interests. To me he often remarked that 'objects disturb me'. But he could paint portraits, too.”