“Winfried Muthesius is a Berliner and it is quite obvious that he is one of the clairvoyant ones among them. For a Berliner, the Brandenburg Gate means more than just a landmark of the city. It includes [...] the ever-changing historic fortune of the city. [...] In 1982, the symbol for the supposedly everlasting division appears for the first time in his work ...” Heinz Ohff [de]: Ein Europäisches Leitmotiv. In: Winfried Muthesius – Brandenburger Tore, Berlin 1991, p. 13.
“Specifically, the working process is that I start drawing in the city, on the spot, in direct confrontation with a situation. The bases for my pictures are always a series of drawings. With them, I try to express the essentials of what I have seen by using only a few simple lines.” […] “It is important for me that the design language which I develop is a wholly independent one but always related to the direct confrontation with a real object.” In: Friedhelm Mennekes [de]: Im Gespräch mit Winfried Muthesius. In: W. Muthesius. Peinture. Painting. Malerei. Münsterschwarzach 1990, p. 33.
"A further correspondence exists between a painting The Resurrection of Christ from the 16th century near the Tabernacle which is attributed to Ercole Ramazzani (1530–1598) and an altarpiece of approximately the same size, the Golden Fields by Winfried Muthesius (born 1957), generated under a project in underground and city-train stations on the occasion of the Ecumenical Church Day in 2003 and mounted behind the altar." In: interior design of St. Canisius (de)
"For this given perception, not to be banned or paralyzed by irruptions and instead to be able to capture the possibilities of eruptions, I, Winfried Muthesius, [...] am grateful [...]." Jürgen Lenssen [de]. In: Winfried Muthesius. ZeitBrüche. Bonn 2014, p. 10.
