"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."

“..we parted in 1914, when Kandinsky, being an enemy alien , had to flee from Germany to Switzerland, as did Jawlensky and Marianne de Werefkin too . ..Ever since we parted in 1914, I have worked mainly by myself. After the First World War, here in Munich, we found that our Blue Rider group had broken up. Franz Marc and Macke had both been killed Kandinsky, Jawlensky and Marianne were no longer here; Bloch and Burliuk were in America. Those of us who were still in Munich remained friends, of course, but each one of us had learned to work by himself rather than in a group. Besides.. ..we had always been individualists and our Blue Rider group never had a style of its own as uniform as that of the Paris cubists.”

“Each of us 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 schools of Paris.”

“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..”

“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 met him Kandinsky shortly after my return to Germany from the United Sates. At first, I lived for a while in Bonn.. .A year later, in 1901, I decided to move to Munich, but still found very little encouragement as an artist. German painters refused to believe that a woman could have real talent, and I was even denied access, as a student, to the Munich Academy.. .It is significant that the first Munich artist who took the trouble to encourage me was Kandinsky, himself no German but a recent arrival from Russia.”

“They 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.”