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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.

— Gabriele Münter Interview by Edouard Roditi (1958)

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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.

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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