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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.

— Gabriele Münter

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

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.

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.

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.

Interview by Edouard Roditi (1958)

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