To What Other Form of Art Did Kandinsky Strive to Equate His Work?
"Of all the arts, abstract painting is the most hard. It demands that you know how to describe well, that y'all have a heightened sensitivity for composition and for colors, and that you be a true poet. This last is essential."
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"Color is a means of exerting direct influence on the soul."
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"Objects harm pictures."
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"The artist must railroad train not only his middle but likewise his soul."
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"Color is the fundamental. The eye is the hammer. The soul is the piano with its many chords. The creative person is the hand that, by touching this or that central, sets the soul vibrating automatically."
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"There is no must in art because art is free."
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"The true work of fine art is born from the 'creative person': a mysterious, enigmatic, and mystical creation. Information technology detaches itself from him, it acquires an democratic life, becomes a personality, an independent subject, animated with a spiritual breath, the living subject of a real existence of existence."
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Summary of Wassily Kandinsky
I of the pioneers of abstract modern fine art, Wassily Kandinsky exploited the evocative interrelation between color and form to create an aesthetic feel that engaged the sight, sound, and emotions of the public. He believed that total abstraction offered the possibility for profound, transcendental expression and that copying from nature just interfered with this process. Highly inspired to create fine art that communicated a universal sense of spirituality, he innovated a pictorial language that but loosely related to the outside world, just expressed volumes most the artist'due south inner experience. His visual vocabulary developed through iii phases, shifting from his early, representational canvases and their divine symbolism to his rapturous and operatic compositions, to his tardily, geometric and biomorphic flat planes of color. Kandinsky'due south art and ideas inspired many generations of artists, from his students at the Bauhaus to the Abstract Expressionists after Earth War II.
Accomplishments
- Painting was, higher up all, deeply spiritual for Kandinsky. He sought to convey profound spirituality and the depth of human being emotion through a universal visual linguistic communication of abstract forms and colors that transcended cultural and physical boundaries.
- Kandinsky viewed non-objective, abstruse art as the ideal visual mode to limited the "inner necessity" of the artist and to convey universal human emotions and ideas. He viewed himself as a prophet whose mission was to share this ideal with the earth for the edification of club.
- Kandinsky viewed music every bit the most transcendent form of not-objective fine art - musicians could evoke images in listeners' minds just with sounds. He strove to produce similarly object-free, spiritually rich paintings that alluded to sounds and emotions through a unity of sensation.
Biography of Wassily Kandinsky
Modernist brainchild could not have asked for a more charismatic and visionary theorist than Kandinsky - the highest ideals he pursued through his many travels and friendships.
Important Fine art by Wassily Kandinsky
Progression of Art
1903
Der Blaue Reiter (The Bluish Rider)
This breakthrough work is a deceptively simple epitome - a lone passenger racing beyond a mural - yet it represented a decisive moment in Kandinsky's developing fashion. In this painting, he demonstrated a articulate stylistic link to the work of the Impressionists, similar Claude Monet, particularly axiomatic in the contrasts of light and dark on the dominicus-dappled hillside. The ambiguity of the course of the figure on horseback rendered in a variety of colors that almost blend together foreshadow his interest in abstraction. The theme of the equus caballus and rider reappeared in many of his after works. For Kandinsky this motif signified his resistance against conventional aesthetic values as well equally the possibilities for a purer, more than spiritual life through fine art.
Oil on canvas - Individual Collection
1908-09
Der Blaue Berg (The Bluish Mountain)
In this piece of work, the influence of the Fauves on Kandinsky'south color palette is credible as he distorted colors and moved abroad from the natural earth. He presented a bright blue mountain, framed by a red and yellow tree on either side. In the foreground, riders on horseback charge through the scene. At this stage in Kandinsky's career, Saint John's Book of Revelation became a major literary source for his art, and the riders signify the four horsemen of the apocalypse. The horsemen, although an indicator of the mass devastation of the apocalypse, also represent the potential for redemption afterward.
Kandinsky'south vibrant palette and expressive brushwork provide the viewer with a sense of hope rather than despair. Further, the brilliant colors and night outlines call up his love of the Russian folk art. These influences would remain office of Kandinsky'south fashion throughout the rest of his career, with bright colors dominating his representational and not-objective canvases. From this figurative and highly symbolic piece of work, Kandinsky progressed further towards pure abstraction. The forms are already schematized from their observable appearance in the surrounding globe in this canvass, and his abstraction only progressed equally Kandinsky refined his theories nigh art.
Oil on sheet - The Solomon R. Guggenheim Museum, New York
1911
Composition Four
Hidden inside the bright swaths of color and the clear black lines of Composition Iv, Kandinsky portrayed several Cossacks with lances, as well as boats, reclining figures, and a castle on a hilltop. Every bit with many paintings from this catamenia, he represented the apocalyptic battle that would atomic number 82 to eternal peace. The notion of battle is conveyed past the Cossacks, while the calm of the flowing forms and reclining figures on the correct alludes to the peace and redemption to follow. In order to facilitate his development of a non-objective style of painting, as described in his text Concerning the Spiritual in Fine art (1912), Kandinsky reduced objects to pictographic symbols. Through his elimination of most references to the outside world, Kandinsky expressed his vision in a more than universal fashion, distilling the spiritual essence of the subject through these forms into a visual vocabulary. Many of these symbolic figures were repeated and refined in later works, becoming further and further bathetic as Kandinsky developed his mature, purely abstruse style.
Oil on canvas - Kunstsammlung Nordrhein-Westfallen, Düsseldorf
1913
Composition Seven
Commonly cited every bit the pinnacle of Kandinsky'southward pre-World War I achievement, Composition 7 shows the creative person's rejection of pictorial representation through a swirling hurricane of colors and shapes. The operatic and tumultuous roiling of forms around the canvas exemplifies Kandinsky'due south belief that painting could evoke sounds the style music called to listen certain colors and forms. Fifty-fifty the title, Composition VII, aligned with his involvement in the intertwining of the musical with the visual and emphasized Kandinsky's non-representational focus in this piece of work. Every bit the different colors and symbols spiral around each other, Kandinsky eliminated traditional references to depth and laid bare the different abstracted glyphs in order to communicate deeper themes and emotions common to all cultures and viewers.
Preoccupied by the theme of apocalypse and redemption throughout the 1910s, Kandinsky formally tied the whirling composition of the painting to the theme of the cyclical processes of devastation and salvation. Despite the seemingly non-objective nature of the work, Kandinsky maintained several symbolic references in this painting. Amid the various forms that built Kandinsky'southward visual vocabulary, he painted glyphs of boats with oars, mountains, and figures. Notwithstanding, he did not intend for viewers to read these symbols literally and instead imbued his paintings with multiple references to the Last Judgment, the Drench, and the Garden of Eden, seemingly all at once.
Oil on canvas - Tretyakov Gallery, Moscow
1916
Moscow I (Red Square)
At start the move to Moscow in 1914 initiated a flow of low and Kandinsky hardly even painted at all his first year dorsum. When he picked up his paintbrush again in 1916, he expressed his desire to paint a portrait of Moscow in a letter to his former companion, Munter. Although he continued to refine his brainchild, he represented the urban center'southward monuments in this painting and captured the spirit of the city. Kandinsky painted the landmarks in a circular fashion as if he had stood in the center of Red Square, turned in a circle, and caught them all swirling about him. Although he refers to the exterior world in this painting, he maintained his commitment to the synesthesia of colour, sound, and spiritual expression in fine art. Kandinsky wrote that he particularly loved sunset in Moscow because it was "the terminal chord of a symphony which develop[ed] in every tone a high life that force[d] all of Moscow to resound like the fortissimo of a huge orchestra."
Oil on canvass - The State Tretyakov Gallery, Moscow
1923
Limerick Viii
The rational, geometric lodge of Limerick Viii is a polar contrary of the operatic composition of Composition Vii (1913). Painted while he taught at the Bauhaus, this work illustrates how Kandinsky synthesized elements from Suprematism, Constructivism, and the school'south ain ethos. By combining aspects of all iii movements, he arrived at the flat planes of color and the clear, linear quality seen in this work. Form, as opposed to color, structured the painting in a dynamic residue that pulses throughout the canvas. This work is an expression of Kandinsky's antiseptic ideas about modern, non-objective art, particularly the significance of shapes similar triangles, circles, and the checkerboard. Kandinsky relied upon a hard-edged fashion to communicate the deeper content of his work for the rest of his career.
Oil on canvass - The Solomon R. Guggenheim Museum, New York
1926
Several Circles
Kandinsky painted this work in his sixtieth year and information technology demonstrates his lifelong search for the ideal form of spiritual expression in art. Created every bit role of his experimentation with a linear way of painting, this work shows his involvement in the form of the circumvolve. "The circle," claimed Kandinsky, "is the synthesis of the greatest oppositions. It combines the concentric and the eccentric in a single class and in equilibrium. Of the 3 primary forms, information technology points almost clearly to the fourth dimension." He relied upon the varied possibilities of interpretation for the circle to create a sense of spiritual and emotional harmony in this piece of work. The various dimensions and vivid hues of each circle bubble up through the canvas and are balanced through Kandinsky'south careful juxtapositions of proportion and color. The dynamic movement of the round forms evokes their universality - from the stars in the creation to drops of dew; the circumvolve a shape integral to life.
Oil on canvas - The Solomon R. Guggenheim Museum, New York
1939
Composition 10
Influenced by the flowing biomorphic forms of Surrealism, Kandinsky later incorporated organic shapes back into his pictorial vocabulary. Executed in France, this monumental painting relies upon a blackness background to heighten the visual bear on of the brightly colored undulating forms in the foreground. The presence of the black surface area is significant, as Kandinsky simply used the color sparingly; information technology is evocative of the cosmos every bit well every bit the darkness at the cease of life. The undulating planes of color telephone call to mind microscopic organisms, simply also express the inner emotional and spiritual feelings Kandinsky experienced nigh the end of his life. The uplifting organization of forms in dissimilarity with the harsh edges and black groundwork illustrates the harmony and tension present throughout the universe, likewise as the rising and fall of the cycle of life. Last in his lifelong serial of Compositions, this work is the culmination of Kandinsky's investigation into the purity of class and expression through nonrepresentational painting.
Oil on canvass - Kunstsammlung Nordrhein-Westfalen, Düsseldorf
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Content compiled and written by Eve Griffin
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"Wassily Kandinsky Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Eve Griffin
Edited and published by The Art Story Contributors
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First published on 01 Feb 2013. Updated and modified regularly
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Source: https://www.theartstory.org/artist/kandinsky-wassily/
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