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Soviet Artist That Describe Life in the Soviet Union Los Angeles Museum Og Art

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Russian painter and fine art theorist

Wassily Kandinsky
Vassily-Kandinsky.jpeg

Kandinsky, c.  1913 or earlier
Born

Wassily Wassilyevich Kandinsky


xvi December [O.South. 4 December] 1866

Moscow, Russian Empire
Died 13 December 1944(1944-12-13) (aged 77)

Neuilly-sur-Seine, France
Nationality Russian, later French
Education Academy of Fine Arts, Munich
Known for Painting

Notable work

 On White II, Der Blaue Reiter
Movement Expressionism; abstruse art

Wassily Wassilyevich Kandinsky (; Russian: Василий Васильевич Кандинский , tr. Vasiliy Vasilyevich Kandinskiy , IPA: [vɐˈsʲilʲɪj vɐˈsʲilʲjɪvʲɪtɕ kɐnʲˈdʲinskʲɪj]; sixteen December [O.South. 4 December] 1866 – 13 December 1944) was a Russian painter and fine art theorist. Kandinsky is mostly credited as one of the pioneers of brainchild in western art, possibly afterwards Hilma af Klint.[i] Born in Moscow, he spent his babyhood in Odessa, where he graduated at Grekov Odessa Art school. He enrolled at the Academy of Moscow, studying police and economic science. Successful in his profession—he was offered a professorship (chair of Roman Law) at the University of Dorpat (today Tartu, Republic of estonia)—Kandinsky began painting studies (life-drawing, sketching and anatomy) at the age of 30.

In 1896, Kandinsky settled in Munich, studying get-go at Anton Ažbe's private schoolhouse then at the University of Fine Arts. He returned to Moscow in 1914, after the outbreak of World State of war I. Following the Russian Revolution, Kandinsky "became an insider in the cultural administration of Anatoly Lunacharsky"[two] and helped constitute the Museum of the Culture of Painting.[3] However, past and so "his spiritual outlook... was strange to the argumentative materialism of Soviet gild",[4] and opportunities beckoned in Frg, to which he returned in 1920. At that place he taught at the Bauhaus schoolhouse of art and architecture from 1922 until the Nazis closed information technology in 1933. He so moved to France, where he lived for the rest of his life, condign a French citizen in 1939 and producing some of his most prominent art. He died in Neuilly-sur-Seine in 1944, three days prior to his 78th birthday.

Artistic periods [edit]

Kandinsky'southward cosmos of abstract work followed a long period of development and maturation of intense thought based on his creative experiences. He called this devotion to inner beauty, fervor of spirit, and spiritual desire inner necessity;[five] information technology was a central aspect of his art. Some art historians propose that Kandinsky'south passion for Abstruse fine art began when one 24-hour interval, coming back dwelling house, he found one of his own paintings hanging upside downward in his studio, and he stared at it for a while before realizing it was his own work,[6] suggesting him the potential power of abstraction.

Youth and inspiration [edit]

Kandinsky was born in Moscow, the son of Lidia Ticheeva and Vasily Silvestrovich Kandinsky, a tea merchant.[7] [8] Ane of his great-grandmothers was Princess Gantimurova, a Mongolian princess.[9] Kandinsky learned from a diverseness of sources while in Moscow. He studied many fields while in schoolhouse, including constabulary and economics. Later on in life, he would recall existence fascinated and stimulated by colour as a kid. His fascination with colour symbolism and psychology continued as he grew. In 1889, he was function of an ethnographic research group which travelled to the Vologda region north of Moscow. In Looks on the Past, he relates that the houses and churches were busy with such shimmering colours that upon entering them, he felt that he was moving into a painting. This experience, and his report of the region's folk art (especially the use of bright colours on a dark background), was reflected in much of his early on piece of work. A few years later he start likened painting to composing music in the manner for which he would become noted, writing, "Colour is the keyboard, the eyes are the hammers, the soul is the pianoforte with many strings. The artist is the paw which plays, touching ane cardinal or some other, to cause vibrations in the soul".[10] Kandinsky was also the uncle of Russian-French philosopher Alexandre Kojève (1902–1968).

In 1896, at the age of 30, Kandinsky gave up a promising career pedagogy police and economics to enroll in the Munich Academy where his teachers would somewhen include Franz von Stuck.[11] He was not immediately granted admission, and began learning art on his ain. That same year, earlier leaving Moscow, he saw an showroom of paintings by Monet. He was especially taken with the impressionistic mode of Haystacks; this, to him, had a powerful sense of colour well-nigh independent of the objects themselves. Afterward, he would write about this feel:

That it was a haystack the catalogue informed me. I could non recognise it. This non-recognition was painful to me. I considered that the painter had no right to paint indistinctly. I dully felt that the object of the painting was missing. And I noticed with surprise and confusion that the picture not just gripped me, but impressed itself ineradicably on my retentiveness. Painting took on a fairy-tale power and splendour.[12]

—Wassily Kandinsky

Kandinsky was similarly influenced during this catamenia by Richard Wagner's Lohengrin which, he felt, pushed the limits of music and melody beyond standard lyricism.[13] He was also spiritually influenced by Madame Blavatsky (1831–1891), the best-known exponent of theosophy. Theosophical theory postulates that creation is a geometrical progression, beginning with a unmarried point. The creative aspect of the form is expressed by a descending series of circles, triangles, and squares. Kandinsky's book Concerning the Spiritual in Art (1910) and Indicate and Line to Airplane (1926) echoed this theosophical tenet. Illustrations by John Varley in Thought-Forms (1901) influenced him visually.[fourteen]

Metamorphosis [edit]

Colourful abstract painting with buildings and a church in the background

Munich-Schwabing with the Church of St. Ursula (1908)

In the summertime of 1902, Kandinsky invited Gabriele Münter to bring together him at his summer painting classes just south of Munich in the Alps. She accepted, and their relationship became more personal than professional. Art schoolhouse, usually considered hard, was easy for Kandinsky. It was during this time that he began to sally as an art theorist likewise as a painter. The number of his existing paintings increased at the beginning of the 20th century; much remains of the landscapes and towns he painted, using broad swaths of colour and recognisable forms. For the most part, however, Kandinsky's paintings did non feature any human figures; an exception is Sunday, Old Russian federation (1904), in which Kandinsky recreates a highly colourful (and fanciful) view of peasants and nobles in front of the walls of a town. Couple on Horseback (1907) depicts a human on horseback, belongings a woman with tenderness and care every bit they ride past a Russian town with luminous walls across a blue river. The horse is muted while the leaves in the trees, the town, and the reflections in the river coruscate with spots of colour and effulgence. This piece of work demonstrates the influence of pointillism in the way the depth of field is collapsed into a flat, luminescent surface. Fauvism is as well apparent in these early works. Colours are used to limited Kandinsky's experience of subject thing, not to draw objective nature.

Painting of white horse and blue rider galloping across a green meadow from right to left

Perhaps the well-nigh of import of his paintings from the first decade of the 1900s was The Blue Rider (1903), which shows a small cloaked figure on a speeding horse rushing through a rocky meadow. The rider'southward cloak is medium blue, which casts a darker-blue shadow. In the foreground are more than amorphous bluish shadows, the counterparts of the fall copse in the background. The blue rider in the painting is prominent (only not clearly defined), and the horse has an unnatural gait (which Kandinsky must have known). Some art historians believe[ citation needed ] that a second figure (maybe a child) is existence held by the rider, although this may be another shadow from the alone passenger. This intentional disjunction, allowing viewers to participate in the creation of the artwork, became an increasingly witting technique used by Kandinsky in subsequent years; it culminated in the abstract works of the 1911–1914 period. In The Blue Rider, Kandinsky shows the passenger more as a series of colours than in specific detail. This painting is not exceptional in that regard when compared with contemporary painters, just it shows the direction Kandinsky would take only a few years later.

From 1906 to 1908 Kandinsky spent a great deal of time travelling beyond Europe (he was an associate of the Bluish Rose symbolist group of Moscow), until he settled in the small Bavarian town of Murnau. In 1908 he bought a copy of Idea-Forms by Annie Besant and Charles Webster Leadbeater. In 1909 he joined the Theosophical Society. The Blueish Mount (1908–1909) was painted at this time, demonstrating his tendency toward abstraction. A mountain of bluish is flanked by 2 wide trees, one yellowish and one red. A procession, with 3 riders and several others, crosses at the bottom. The faces, article of clothing, and saddles of the riders are each a single color, and neither they nor the walking figures display any real particular. The flat planes and the contours likewise are indicative of Fauvist influence. The broad use of colour in The Blue Mountain illustrates Kandinsky's inclination toward an art in which color is presented independently of form, and in which each color is given equal attending. The composition is more planar; the painting is divided into four sections: the sky, the red tree, the xanthous tree, and the blue mount with the three riders.

Blue Rider Menstruation (1911–1914) [edit]

Kandinsky'south paintings from this flow are large, expressive coloured masses evaluated independently from forms and lines; these serve no longer to delimit them, but overlap freely to form paintings of extraordinary force. Music was important to the birth of abstract fine art, since music is abstract by nature—information technology does not try to represent the exterior earth, simply expresses in an immediate way the inner feelings of the soul. Kandinsky sometimes used musical terms to place his works; he called his most spontaneous paintings "improvisations" and described more elaborate works as "compositions."

In add-on to painting, Kandinsky was an art theorist; his influence on the history of Western art stems perhaps more than from his theoretical works than from his paintings. He helped found the Neue Künstlervereinigung München (Munich New Artists' Association), becoming its president in 1909. However, the group could not integrate the radical approach of Kandinsky (and others) with conventional artistic concepts and the group dissolved in late 1911. Kandinsky then formed a new grouping, the Blue Rider (Der Blaue Reiter) with like-minded artists such as August Macke, Franz Marc, Albert Bloch, and Gabriele Münter. The group released an almanac (The Blue Rider Almanac) and held two exhibits. More of each were planned, but the outbreak of World State of war I in 1914 ended these plans and sent Kandinsky dorsum to Russia via Switzerland and Sweden.

His writing in The Blueish Rider Almanac and the treatise "On the Spiritual in Art" (which was released in 1910) were both a defence and promotion of abstract fine art and an affirmation that all forms of fine art were equally capable of reaching a level of spirituality. He believed that colour could be used in a painting as something democratic, apart from the visual description of an object or other form.

These ideas had an almost-immediate international impact, especially in the English-speaking world.[15] Every bit early as 1912, On the Spiritual in Art was reviewed by Michael Sadleir in the London-based Fine art News. [sixteen] Interest in Kandinsky grew speedily when Sadleir published an English translation of On the Spiritual in Art in 1914. Extracts from the book were published that year in Percy Wyndham Lewis'south periodical Smash, and Alfred Orage's weekly cultural newspaper The New Age. Kandinsky had received some detect earlier in United kingdom of great britain and northern ireland, even so; in 1910, he participated in the Centrolineal Artists' Exhibition (organised by Frank Rutter) at London'southward Royal Albert Hall. This resulted in his work beingness singled out for praise in a review of that show past the artist Spencer Frederick Gore in The Art News.[17]

Sadleir's interest in Kandinsky also led to Kandinsky'south first works entering a British art collection; Sadleir'south father, Michael Sadler, acquired several wood-prints and the abstruse painting Fragment for Limerick 7 in 1913 following a visit past father and son to meet Kandinsky in Munich that twelvemonth. These works were displayed in Leeds, either in the University or the premises of the Leeds Arts Order, betwixt 1913 and 1923.[18]

  • Untitled First Abstruse Watercolor, 1910

  • Report for Improvisation V, 1910

  • Lyrical, 1911

  • Mural With 2 Poplars, 1912

  • Squares with Concentric Circles, 1913

  • Painting with a Red Stain, 1914

Return to Russia (1914–1921) [edit]

In Grey (1919) past Kandinsky, exhibited at the 19th Country Exhibition, Moscow, 1920

The dominicus melts all of Moscow down to a single spot that, similar a mad tuba, starts all of the center and all of the soul vibrating. Simply no, this uniformity of red is not the most beautiful hour. Information technology is only the final chord of a symphony that takes every colour to the zenith of life that, like the fortissimo of a great orchestra, is both compelled and immune by Moscow to ring out.

—Wassily Kandinsky[nineteen]

In 1916, he met Nina Andreevskaya (1899–1980), whom he married on eleven February 1917.

From 1918 to 1921, Kandinsky was involved in the cultural politics of Russia and collaborated in art instruction and museum reform. He painted niggling during this period, but devoted his fourth dimension to artistic teaching, with a program based on form and colour analysis; he as well helped organize the Found of Creative Culture in Moscow of which he was the showtime manager. His spiritual, expressionistic view of art was ultimately rejected by the radical members of the Institute every bit besides individualistic and bourgeois. In 1921, Kandinsky was invited to go to Germany to nourish the Bauhaus of Weimar by its founder, builder Walter Gropius.

Back in Germany and the Bauhaus (1922–1933) [edit]

In May 1922, he attended the International Congress of Progressive Artists and signed the "Founding Proclamation of the Union of Progressive International Artists".[20]

Kandinsky taught the basic design course for beginners and the grade on advanced theory at the Bauhaus; he too conducted painting classes and a workshop in which he augmented his colour theory with new elements of form psychology. The development of his works on forms written report, particularly on points and line forms, led to the publication of his 2d theoretical book (Betoken and Line to Plane) in 1926. His examinations of the effects of forces on straight lines, leading to the contrasting tones of curved and angled lines, coincided with the research of Gestalt psychologists, whose piece of work was too discussed at the Bauhaus.[21] Geometrical elements took on increasing importance in both his pedagogy and painting—particularly the circumvolve, half-circle, the angle, directly lines and curves. This menstruation was intensely productive. This freedom is characterised in his works past the treatment of planes rich in colours and gradations—as in Yellow – red – blueish (1925), where Kandinsky illustrates his distance from the constructivism and suprematism movements influential at the time.

House of Paul Klee and Wassily Kandinsky in Dessau

The 2-metre-wide (half-dozen ft 7 in) Xanthous – red – blueish (1925) of several main forms: a vertical yellow rectangle, an inclined red cantankerous and a large dark blue circle; a multitude of straight (or sinuous) black lines, round arcs, monochromatic circles and scattered, coloured checker-boards contribute to its delicate complexity. This simple visual identification of forms and the main coloured masses present on the sheet is only a first approach to the inner reality of the piece of work, whose appreciation necessitates deeper observation—not only of forms and colours involved in the painting merely their relationship, their absolute and relative positions on the canvas and their harmony.

Kandinsky was one of Die Blaue Vier (Bluish Four), formed in 1923 with Paul Klee, Lyonel Feininger and Alexej von Jawlensky, which lectured and exhibited in the U.s. in 1924. Due to right-wing hostility, the Bauhaus left Weimar and settled in Dessau in 1925. Post-obit a Nazi smear campaign the Bauhaus left Dessau in 1932 for Berlin, until its dissolution in July 1933. Kandinsky and so left Frg, settling in Paris.

  • Soft Difficult, 1927

Great Synthesis (1934–1944) [edit]

Living in an apartment in Paris, Kandinsky created his work in a living-room studio. Biomorphic forms with supple, non-geometric outlines appear in his paintings—forms which suggest microscopic organisms but express the artist'southward inner life. Kandinsky used original colour compositions, evoking Slavic popular fine art. He as well occasionally mixed sand with paint to requite a granular, rustic texture to his paintings.

This menstruation corresponds to a synthesis of Kandinsky'south previous piece of work in which he used all elements, enriching them. In 1936 and 1939 he painted his final two major compositions, the blazon of elaborate canvases he had not produced for many years. Composition IX has highly contrasted, powerful diagonals whose central grade gives the impression of an embryo in the womb. Small squares of colours and coloured bands stand out against the blackness background of Limerick 10 as star fragments (or filaments), while enigmatic hieroglyphs with pastel tones embrace a large maroon mass which seems to float in the upper-left corner of the canvas. In Kandinsky's work some characteristics are obvious, while certain touches are more than discreet and veiled; they reveal themselves only progressively to those who deepen their connection with his work.[23] He intended his forms (which he subtly harmonised and placed) to resonate with the observer'due south soul.

Kandinsky'south formulation of art [edit]

The artist as prophet [edit]

Large, colourful abstract painting

Limerick 7, Tretyakov Gallery. Co-ordinate to Kandinsky, this is the near complex piece he ever painted (1913)

Writing that "music is the ultimate teacher,"[24] Kandinsky embarked upon the first seven of his 10 Compositions. The first three survive only in black-and-white photographs taken by fellow artist and friend Gabriele Münter. Limerick I (1910) was destroyed past a British air raid on the city of Braunschweig in Lower Saxony on the night of 14 October 1944.[25]

While studies, sketches, and improvisations exist (especially of Limerick II), a Nazi raid on the Bauhaus in the 1930s resulted in the confiscation of Kandinsky's start three Compositions. They were displayed in the State-sponsored showroom "Degenerate Art", and then destroyed (along with works past Paul Klee, Franz Marc and other modern artists)[ citation needed ]

Fascinated by Christian eschatology and the perception of a coming New Age,[26] a mutual theme amongst Kandinsky's kickoff seven Compositions is the apocalypse (the terminate of the earth as we know it). Writing of the "creative person equally prophet" in his book, Concerning the Spiritual in Art, Kandinsky created paintings in the years immediately preceding Globe State of war I showing a coming calamity which would change individual and social reality. Having a devout conventionalities in Orthodox Christianity,[27] Kandinsky drew upon the biblical stories of Noah's Ark, Jonah and the whale, Christ'south resurrection, the iv horsemen of the Apocalypse in the book of Revelation, Russian folktales and the mutual mythological experiences of expiry and rebirth. Never attempting to movie any one of these stories as a narrative, he used their veiled imagery equally symbols of the archetypes of death–rebirth and destruction–creation he felt were imminent in the pre-World State of war I globe.

Every bit he stated in Concerning the Spiritual in Art (see beneath), Kandinsky felt that an accurate artist creating art from "an internal necessity" inhabits the tip of an upward-moving pyramid. This progressing pyramid is penetrating and proceeding into the future. What was odd or inconceivable yesterday is commonplace today; what is avant garde today (and understood only by the few) is common knowledge tomorrow. The modern artist–prophet stands alone at the apex of the pyramid, making new discoveries and ushering in tomorrow's reality. Kandinsky was aware of recent scientific developments and the advances of modernistic artists who had contributed to radically new ways of seeing and experiencing the world.

Limerick 4 and afterward paintings are primarily concerned with evoking a spiritual resonance in viewer and creative person. Equally in his painting of the apocalypse by water (Composition Half-dozen), Kandinsky puts the viewer in the situation of experiencing these epic myths past translating them into contemporary terms (with a sense of desperation, flurry, urgency, and confusion). This spiritual communion of viewer-painting-artist/prophet may be described within the limits of words and images.

Creative and spiritual theorist [edit]

Rectangular, multicoloured abstract painting

Every bit the Der Blaue Reiter Annual essays and theorising with composer Arnold Schoenberg indicate, Kandinsky also expressed the communion between artist and viewer as existence bachelor to both the senses and the mind (synesthesia). Hearing tones and chords equally he painted, Kandinsky theorised that (for example), yellow is the color of middle C on a brassy trumpet; black is the colour of closure, and the end of things; and that combinations of colours produce vibrational frequencies, akin to chords played on a pianoforte. In 1871 the young Kandinsky learned to play the pianoforte and cello.[28] [29]

Kandinsky also developed a theory of geometric figures and their relationships—challenge, for case, that the circumvolve is the almost peaceful shape and represents the human soul.[ failed verification ] These theories are explained in Indicate and Line to Plane (come across below).

Kandinsky's legendary stage design for a functioning of Mussorgsky'southward "Pictures at an Exhibition" illustrates his synaesthetic concept of a universal correspondence of forms, colors and musical sounds.[thirty] In 1928 in the theater of Dessau, Wassily Kandinsky realized the stage production of "Pictures at an Exhibition". In 2015 the original designs of the stage elements were blithe with modern video technology and synchronized with the music co-ordinate to the preparatory notes of Kandinsky and the director'due south script of Felix Klee.

In another episode with Münter during the Bavarian abstruse expressionist years, Kandinsky was working on his Composition VI. From nearly six months of study and preparation, he had intended the piece of work to evoke a flood, baptism, destruction, and rebirth simultaneously. After outlining the work on a mural-sized wood panel, he became blocked and could not go on. Münter told him that he was trapped in his intellect and not reaching the true subject field of the moving picture. She suggested he simply repeat the discussion uberflut ("deluge" or "alluvion") and focus on its audio rather than its meaning. Repeating this give-and-take like a mantra, Kandinsky painted and completed the monumental piece of work in a three-twenty-four hours span.[31] [ commendation needed ]

Signature mode [edit]

Wassily Kandinsky'south art has a confluence of music[32] and spirituality. With his appreciation for music of his times and kinesthetic disposition,[33] Kandinsky'south artworks have a marked style of expressionism in his early on years. But he embraced all types of artistic styles of his times and his predecessors i.e. Art Nouveau (sinuous organic forms), Fauvism and Blaue Reiter (shocking colours), Surrealism (mystery) and Bauhaus (constructivism) only to motility towards abstractionism as he explored spirituality in art. His object-gratis paintings[34] display spiritual abstraction suggested past sounds and emotions through a unity of sensation.[35] Driven by the Christian faith and the inner necessity[36] of an creative person, his paintings take the ambiguity of the form rendered in a variety of colours likewise every bit resistance against conventional aesthetic values of the art world.

His signature or individual way can be further defined and divided into three categories over the course of his art career: Impressions (representational element), Improvisations (spontaneous emotional reaction), Compositions (ultimate works of art).[ citation needed ]

Equally Kandinsky started moving away from his early inspiration from Impressionism, his paintings became more vibrant, pictographic and expressive with more sharp shapes and articulate linear qualities.

But somewhen, Kandinsky went further rejecting pictorial representation with more than synesthetic swirling hurricanes of colours and shapes, eliminating traditional references to depth and laid-baring dissimilar abstracted glyphs, But what remained consistent was his spiritual pursuits of expressions and references to his Christian faith.[ commendation needed ]

Emotional harmony is another salient feature in the after works of Kandinsky.[37] With various dimensions and bright hues balanced through a careful juxtaposition of proportion and colours, he substantiated the universality of shapes in his artworks thus paving the way for further abstraction.

Wassily Kandinsky ofttimes used black in his paintings to heighten the impact of brightly coloured forms while his forms were often biomorphic approaches to bring surrealism in his art.[38]

Theoretical writings on art [edit]

Kandinsky's analyses on forms and colours result not from simple, arbitrary idea-associations but from the painter'due south inner feel. He spent years creating abstract, sensorially rich paintings, working with course and colour, tirelessly observing his own paintings and those of other artists, noting their effects on his sense of color.[39] This subjective experience is something that anyone can do—not scientific, objective observations but inner, subjective ones, what French philosopher Michel Henry calls "absolute subjectivity" or the "absolute phenomenological life".[40]

Concerning the spiritual in fine art [edit]

Published in Munich in 1911, Kandinsky's text, Über das Geistige in der Kunst, defines three types of painting; impressions, improvisations and compositions. While impressions are based on an external reality that serves equally a starting bespeak, improvisations and compositions depict images emergent from the unconscious, though limerick is developed from a more formal point of view.[41] Kandinsky compares the spiritual life of humanity to a pyramid—the artist has a mission to lead others to the tiptop with his piece of work. The point of the pyramid is those few, swell artists. It is a spiritual pyramid, advancing and ascending slowly even if it sometimes appears immobile. During decadent periods, the soul sinks to the lesser of the pyramid; humanity searches only for external success, ignoring spiritual forces.[42]

Colours on the painter'southward palette evoke a double upshot: a purely physical effect on the eye which is charmed past the beauty of colours, similar to the joyful impression when we eat a effeminateness. This effect can be much deeper, nevertheless, causing a vibration of the soul or an "inner resonance"—a spiritual effect in which the colour touches the soul itself.[43]

"Inner necessity" is, for Kandinsky, the principle of art and the foundation of forms and the harmony of colours. He defines information technology as the principle of efficient contact of the form with the human soul.[44] Every grade is the delimitation of a surface by some other one; it possesses an inner content, the consequence it produces on one who looks at it attentively.[45] This inner necessity is the correct of the artist to unlimited freedom, but this liberty becomes licence if it is non founded on such a necessity.[46] Art is born from the inner necessity of the creative person in an enigmatic, mystical way through which it acquires an autonomous life; it becomes an independent subject, animated by a spiritual jiff.[47]

The obvious backdrop we can meet when we look at an isolated colour and let it act alone, on one side is the warmth or coldness of the colour tone, and on the other side is the clarity or obscurity of that tone.[48] Warmth is a tendency towards yellow, and coldness a tendency towards blue; yellow and blue form the first nifty, dynamic dissimilarity.[49] Yellow has an eccentric movement and bluish a concentric movement; a yellow surface seems to move closer to us, while a blue surface seems to move away.[50] Yellow is a typically terrestrial colour, whose violence can be painful and aggressive.[51] Bluish is a angelic colour, evoking a deep calm.[52] The combination of blue and yellow yields full immobility and calm, which is green.[53]

Clarity is a trend towards white, and obscurity is a tendency towards blackness. White and black form the second great contrast, which is static.[50] White is a deep, absolute silence, full of possibility.[54] Black is nothingness without possibility, an eternal silence without hope, and corresponds with death. Any other colour resonates strongly on its neighbors.[55] The mixing of white with black leads to gray, which possesses no agile force and whose tonality is near that of dark-green. Gray corresponds to immobility without hope; it tends to despair when information technology becomes dark, regaining footling hope when it lightens.[56]

Crimson is a warm color, lively and agitated; it is forceful, a motility in itself.[56] Mixed with blackness it becomes brown, a hard colour.[57] Mixed with yellow, it gains in warmth and becomes orange, which imparts an irradiating movement on its surroundings.[58] When red is mixed with blue it moves away from human being to become purple, which is a cool red.[59] Ruby and green class the tertiary great dissimilarity, and orange and purple the fourth.[60]

Point and Line to Plane [edit]

In his writings, published in Munich by Verlag Albert Langen in 1926, Kandinsky analyzed the geometrical elements which make upward every painting—the point and the line. He chosen the physical support and the material surface on which the creative person draws or paints the basic aeroplane, or BP.[61] He did non analyze them objectively, simply from the point of view of their inner effect on the observer.[62]

A bespeak is a small-scale bit of colour put by the artist on the canvass. Information technology is neither a geometric point nor a mathematical abstraction; it is extension, form and colour. This form can be a square, a triangle, a circle, a star or something more than complex. The point is the most concise class but, according to its placement on the basic airplane, information technology will take a different tonality. Information technology tin can be isolated or resonate with other points or lines.[63]

A line is the product of a force which has been practical in a given management: the force exerted on the pencil or paintbrush by the artist. The produced linear forms may be of several types: a straight line, which results from a unique strength applied in a single direction; an angular line, resulting from the alternation of two forces in unlike directions, or a curved (or moving ridge-like) line, produced by the effect of ii forces acting simultaneously. A plane may exist obtained by condensation (from a line rotated around ane of its ends).[64] The subjective effect produced past a line depends on its orientation: a horizontal line corresponds with the ground on which homo rests and moves; it possesses a dark and cold affective tonality similar to black or blue. A vertical line corresponds with height, and offers no support; information technology possesses a luminous, warm tonality close to white and yellow. A diagonal possesses a more-or-less warm (or cold) tonality, according to its inclination toward the horizontal or the vertical.[65]

A force which deploys itself, without obstacle, every bit the one which produces a straight line corresponds with lyricism; several forces which face up (or annoy) each other form a drama.[66] The angle formed by the angular line besides has an inner sonority which is warm and close to yellow for an acute angle (a triangle), cold and similar to blue for an obtuse angle (a circle), and similar to red for a right angle (a square).[67]

The basic plane is, in full general, rectangular or square. Therefore, it is composed of horizontal and vertical lines which delimit it and define information technology as an democratic entity which supports the painting, communicating its melancholia tonality. This tonality is adamant by the relative importance of horizontal and vertical lines: the horizontals giving a at-home, cold tonality to the basic airplane while the verticals impart a at-home, warm tonality.[68] The artist intuits the inner event of the sail format and dimensions, which he chooses co-ordinate to the tonality he wants to give to his piece of work. Kandinsky considered the basic plane a living being, which the artist "fertilises" and feels "breathing".[69]

Each function of the bones plane possesses an melancholia colouration; this influences the tonality of the pictorial elements which volition be fatigued on it, and contributes to the richness of the composition resulting from their juxtaposition on the canvas. The above of the bones plane corresponds with looseness and to lightness, while the beneath evokes condensation and heaviness. The painter's job is to heed and know these furnishings to produce paintings which are not merely the event of a random process, but the fruit of accurate work and the result of an effort towards inner dazzler.[seventy]

This volume contains many photographic examples and drawing from Kandinsky'southward works which offering the demonstration of its theoretical observations, and which allow the reader to reproduce in him the inner obviousness provided that he takes the fourth dimension to look at those pictures with care, that he permit them acting on its own sensibility and that he let vibrating the sensible and spiritual strings of his soul.[71]

Miscellaneous information [edit]

Art market [edit]

In 2012, Christie'due south auctioned Kandinsky's Studie für Improvisation 8 (Study for Improvisation 8), a 1909 view of a human wielding a broadsword in a rainbow-hued village, for $23 one thousand thousand. The painting had been on loan to the Kunstmuseum Winterthur, Switzerland, since 1960 and was sold to a European collector by the Volkart Foundation, the charitable arm of the Swiss bolt trading firm Volkart Brothers. Before this sale, the creative person's terminal record was set in 1990 when Sotheby'southward sold his Fugue (1914) for $20.9 million.[72] On 16 November 2016 Christie's auctioned Kandinsky's Rigide et courbé (rigid and bent), a big 1935 abstract painting, for $23.3 1000000, a new record for Kandinsky.[73] [74] Solomon R. Guggenheim originally purchased the painting straight from the artist in 1936, but information technology was not exhibited after 1949, and was and so sold at auction to a private collector in 1964 by the Solomon R. Guggenheim Museum.[74]

In popular civilization [edit]

The 1990 play Half dozen Degrees of Separation refers to a "double-sided Kandinsky" painting.[75] No such painting is known to be; in the 1993 picture version of the play, the double-sided painting is portrayed as having Kandinsky's 1913 painting Black Lines on i side and his 1926 painting Several Circles on the other side.[76]

The 1999 motion picture Double Jeopardy makes numerous references to Kandinsky, and a piece of his, Sketch, figures prominently in the plot-line. The protagonist, Elizabeth Parsons (Ashley Judd), utilises the registry entry for the work to rail downwardly her husband under his new alias. Two variations of the almanac cover of Blue Passenger are likewise featured in the film.[77]

In 2014, Google commemorated Kandinsky's 148th birthday by featuring a Google Putter based on his abstract paintings.[78] [79]

In the 2015 movie Longest ride there is a story within the story telling well-nigh Ruth and Ira. Ruth is interested in art and they visit the Black Mountain College where Ruth tells Ira about Kandinski who came along and broke all the laws of the subject.

A picture show-book biography entitled The Noisy Pigment Box: The Colors and Sounds of Kandinsky's Abstract Fine art was published in 2014. Its illustrations by Mary GrandPre earned information technology a 2015 Caldecott Laurels.

His grandson was musicology professor and writer Aleksey Ivanovich Kandinsky (1918–2000), whose career was both focused on and centred in Russia.[fourscore] [81]

Exhibitions [edit]

The Solomon R. Guggenheim Museum will stage the exhibition Vasily Kandinsky: Around the Circle from Oct 8, 2021 to September 5, 2022, in conjunction with a series of solo exhibitions featuring the work of contemporary artists Etel Adnan, Jennie C. Jones, and Cecilia Vicuña.

The Solomon R. Guggenheim Museum held a major retrospective of Kandinsky'due south piece of work from 2009 to 2010, called Kandinsky.[82] In 2017, a selection of Kandinsky'due south work was on view at the Guggenheim, "Visionaries: Creating a Mod Guggenheim".[83]

The Phillips Collection in Washington, D.C., held an exhibit from June eleven to September 4, 2011, called ″Kandinsky and the Harmony of Silence,″ featuring ″Painting with White Edge″ and its preparatory studies.[84]

Nazi-looted fine art [edit]

In July 2001 Jen Lissitzky, the son of creative person El Lissitzky, filed a restitution claim against the Beyeler Foundation in Basel, Switzerland for Kandinsky's "Improvisation No. 10".[85] A settlement was reached in 2002.[86]

In 2013 the Lewenstein family filed a merits for the restitution of Kandinsky'south Painting with Houses held by the Stedelijk Museum.[87] [88] In 2020, a commission established by the Dutch minister of civilisation institute fault with the behaviour of the Restitution Committee, causing a scandal where two of its members, including its chairman, resigned. Later that yr, a court in Amsterdam ruled that the Stedelijk Museum could retain the painting from the Jewish Lewenstein collection, despite the Nazi theft.[89] [90] All the same, in Baronial 2021 the Amsterdam City Quango decided to return the painting to the Lewenstein family.[91] [92]

In 2017 Robert Colin Lewenstein, Francesca Manuela Davis and Elsa Hannchen Guidotti filed conform against Bayerische Landesbank ("BLB") for the restitution of Kandinsky's Das Bunte Leben. [93] [94]

See also [edit]

  • Bibliothèque Kandinsky
  • Goethe'south Theory of Colours
  • Kandinsky and Theosophy
  • Kandinsky Prize
  • Listing of Russian artists
  • Russian advanced
  • Wassily Chair

References [edit]

Annotation: Several sections of this article have been translated from its French version: Theoretical writings on art, The Bauhaus and The groovy synthesis artistic periods. For consummate detailed references in French, see the original version at fr:Vassily Kandinsky.

Notes [edit]

  1. ^ Voss, Julia (20 May 2013). "The first abstract artist? (And it'southward not Kandinsky)". Tate Etc. No. 27. U.k.: Tate. Retrieved 31 January 2019.
  2. ^ Lindsay, Kenneth; Vergo, Peter (1994). Kandinsky: Complete Writings on Fine art. New York: Da Capo Printing. ISBN9780306805707.
  3. ^ Lindsay, Kenneth; Vergo, Peter (1994). Kandinsky: Complete Writings on Art. New York: Da Capo Press.
  4. ^ Lindsay, Kenneth and Peter Vergo. "Introduction". Kandinsky: Complete Writings on Art. New York: Da Capo Printing, 1994.
  5. ^ ASHMORE, JEROME (1962). "The Theoretical Side of Kandinsky". Criticism. four (iii): 175–185. ISSN 0011-1589. JSTOR 23091068.
  6. ^ "What drove Kandinsky to abstraction?". theguardian.com.
  7. ^ Liukkonen, Petri. "Wassily Kandinsky". Books and Writers (kirjasto.sci.fi). Finland: Kuusankoski Public Library. Archived from the original on 26 February 2015.
  8. ^ Düchting, Hajo; Kandinsky, Wassily (2000). Wassily Kandinsky 1866–1944: a Revolution in Painting. ISBN978-3-8228-5982-7 . Retrieved iv June 2013.
  9. ^ McMullen, Roy Donald. "Wassily Kandinsky". Britannica.
  10. ^ Kandinsky, Wassily (1911). Concerning the Spiritual in Fine art. translated past Michael T. H. Sadler (2004). Kessinger Publishing. p. 32. ISBN978-1-4191-1377-2.
  11. ^ Düchting, Hajo (2000). Wassily Kandinsky, 1866–1944: A Revolution in Painting. Taschen. p. 94. ISBN3822859826.
  12. ^ Lindsay, Kenneth C. (1982). Kandinsky: Complete Writings on Art. Thou.K. Hall & Co. p. 363.
  13. ^ Kandinsky, Wassily (1955). Ruckblick. Baden-Baden: Woldemar Klein Verlag. p. 12.
  14. ^ Sixten Ringbom, The sounding cosmos; a study in the spiritualism of Kandinsky and the genesis of abstruse painting, (Abo [Finland]: Abo Akademi, 1970), pgs 89 & 148a.
  15. ^ See Michael Paraskos, "English Expressionism," MRes Thesis, Academy of Leeds, Leeds 1997, p103f
  16. ^ Michael Sadleir, Review of Uber da Geistige an der Kunst by Wassily Kandinsky, in "The Art News," 9 March 1912, p.45.
  17. ^ Spencer Frederick Gore, "The Centrolineal Artists' Exhibition at the Regal Albert Hall (London)", in "The Art News," 4 August 1910, p.254.
  18. ^ Tom Steele, "Alfred Orage and the Leeds Arts Club 1893–1923" (Mitcham, Orage Press, 2009) 218f
  19. ^ Kandinsky, by Hajo Duchting, Taschen, 2007, pg vii.
  20. ^ van Doesburg, Theo. "De Stijl, "A Short Review of the Proceedings [of the Congress of International Progressive Artists], Followed past the Statements Made by the Artists' Groups" (1922)". modernistarchitecture.wordpress.com. Ross Lawrence Wolfe. Retrieved 30 November 2018.
  21. ^ Düchting, Hajo (2013). Kandinsky. Taschen. p. 68. ISBN978-3-8365-3146-vii.
  22. ^ "Kleine Welten, 1922".
  23. ^ Michel Henry, Seeing the invisible, on Kandinsky, Continuum, 2009, p. 38-45 (The disclosure of pictoriality).
  24. ^ "Wassily Kandinsky – Quotes". www.wassilykandinsky.net . Retrieved 17 September 2016.
  25. ^ https://www.tate.org.britain/fine art/artists/wassily-kandinsky-1382/lost-fine art-wassily-kandinsky. CS1 maint: url-status (link)
  26. ^ Rabinovich, Yakov. "Kandinsky: Principal of the Mystic Arts".
  27. ^ "The Bauhaus Grouping: Half-dozen Masters of Modernism". Columbia Higher Today.
  28. ^ François Le Targat, Kandinsky, Twentieth Century masters series, Random House Incorporated, 1987, p. vii, ISBN 0847808106
  29. ^ Susan B. Hirschfeld, Solomon R. Guggenheim Museum, Hilla von Rebay Foundation, Watercolours past Kandinsky at the Guggenheim Museum: a selection from the Solomon R. Guggenheim Museum and the Hilla von Rebay Foundation, 1991.
  30. ^ Fiedler, Jeannine (2013). Bauhaus. Germany: h.f.ullmann publishing GmbH. p. 262. ISBN978-3-8480-0275-7.
  31. ^ "Kandinsky: The Path to Abstraction, room guide, room half dozen". Tate. 13 June 2012. Archived from the original on 26 February 2013. Retrieved 10 August 2021. Kandinsky fabricated more studies for this limerick than for any other – over xxx drawings, watercolours and sketches. Even so, according to Gabriele Münter, the final version was painted in just three days.
  32. ^ Arn, Jackson (30 May 2019). "How Music Motivated Artists from Matisse to Kandinsky to Reinvent Painting". Artsy . Retrieved 27 October 2021.
  33. ^ "Notice the Famous Works of Wassily Kandinsky, the Artist Who Painted Music". My Modern Met. 13 December 2020. Retrieved 27 October 2021.
  34. ^ "Vasily Kandinsky Replaces the Object". Lapham'due south Quarterly . Retrieved 27 October 2021.
  35. ^ "Art As Sensation: Four Painters As Philosophers Of Art | Effect 57 | Philosophy Now". philosophynow.org . Retrieved 27 October 2021.
  36. ^ Ashmore, Jerome. ""The Theoretical Side of Kandinsky."". Criticism. four: 175–85 – via http://www.jstor.org/stable/23091068.
  37. ^ Kandinsky, W. (October 2008). The Fine art of Spiritual Harmony. Read Books. ISBN9781443755474.
  38. ^ "Wassily Kandinsky - Articles - Biomorphic themes from "Parisian period"". www.wassilykandinsky.net . Retrieved 27 Oct 2021.
  39. ^ Michel Henry, Seeing the invisible, on Kandinsky, Continuum, 2009, p. v-11.
  40. ^ Michel Henry, Seeing the invisible, on Kandinsky, Continuum, 2009, p. 27.
  41. ^ "Vassily Kandinsky". mediation.centrepompidou.fr.
  42. ^ Kandinsky, Du spirituel dans l'fine art, éd. Denoël, 1989, p. 61-75.
  43. ^ Kandinsky, Du spirituel dans l'fine art, éd. Denoël, 1989, pp. 105–107.
  44. ^ Kandinsky, Du spirituel dans l'art, éd. Denoël, 1989, p. 112 et 118.
  45. ^ Kandinsky, Du spirituel dans l'art, éd. Denoël, 1989, p. 118.
  46. ^ Kandinsky, Du spirituel dans l'art, éd. Denoël, 1989, p. 199.
  47. ^ Kandinsky, Du spirituel dans l'art, éd. Denoël, 1989, p. 197.
  48. ^ Kandinsky, Du spirituel dans l'fine art, éd. Denoël, 1989, p. 142.
  49. ^ Kandinsky, Du spirituel dans fifty'art, éd. Denoël, 1989, p. 142-143.
  50. ^ a b Kandinsky, Du spirituel dans l'art, éd. Denoël, 1989, p. 143.
  51. ^ Kandinsky, Du spirituel dans l'art, éd. Denoël, 1989, p. 148.
  52. ^ Kandinsky, Du spirituel dans 50'art, éd. Denoël, 1989, pp. 149–150.
  53. ^ Kandinsky, Du spirituel dans 50'art, éd. Denoël, 1989, p. 150-154.
  54. ^ Kandinsky, Du spirituel dans l'art, éd. Denoël, 1989, p. 155.
  55. ^ Kandinsky, Du spirituel dans l'art, éd. Denoël, 1989, p. 156.
  56. ^ a b Kandinsky, Du spirituel dans l'art, éd. Denoël, 1989, p. 157.
  57. ^ Kandinsky, Du spirituel dans l'art, éd. Denoël, 1989, p. 160.
  58. ^ Kandinsky, Du spirituel dans 50'fine art, éd. Denoël, 1989, p. 162.
  59. ^ Kandinsky, Du spirituel dans fifty'art, éd. Denoël, 1989, pp. 162–163.
  60. ^ Kandinsky, Du spirituel dans l'art, éd. Denoël, 1989, pp. 163–164.
  61. ^ Kandinsky, Betoken et ligne sur program, éd. Gallimard, 1991, p. 143.
  62. ^ Kandinsky, Du spirituel dans l'fine art, éd. Denoël, 1989, p. 45 : "Les idées que je développe ici sont le résultat d'observations et d'expériences intérieures" c'est-à-dire purement subjectives. Cela vaut également pour Point et ligne sur plan qui en est "le développement organique" (avant-propos de la première édition, éd. Gallimard, 1991, p. 9).
  63. ^ Kandinsky, Point et ligne sur plan, éd. Gallimard, 1991, p. 25-63.
  64. ^ Kandinsky, Point et ligne sur plan, éd. Gallimard, 1991, p. 67-71.
  65. ^ Kandinsky, Point et ligne sur plan, éd. Gallimard, 1991, p. 69-70.
  66. ^ Kandinsky, Point et ligne sur plan, éd. Gallimard, 1991, pp. 80–82.
  67. ^ Kandinsky, Signal et ligne sur plan, éd. Gallimard, 1991, p. 89.
  68. ^ Kandinsky, Point et ligne sur plan, éd. Gallimard, 1991, p. 143-145.
  69. ^ Kandinsky, Bespeak et ligne sur plan, éd. Gallimard, 1991, p. 145-146.
  70. ^ Kandinsky, Point et ligne sur program, éd. Gallimard, 1991, p. 146-151.
  71. ^ Kandinsky, Point et ligne sur plan, éd. Gallimard, 1991, Appendice, p. 185-235.
  72. ^ Kelly Crow (7 November 2012), Christie'due south Sells Monet for $43.8 Meg Wall Street Journal.
  73. ^ "Monet Sells for $81.4 1000., a New Record, at $246.iii M. Christie's Imp-Mod Auction". ARTnews. 17 November 2016. Retrieved 12 February 2017.
  74. ^ a b Pobric, Pac (15 September 2016). "Kandinsky painting bought directly from the artist by Solomon Guggenheim returns to sale". The Fine art Paper. Archived from the original on 12 February 2017. Retrieved 12 February 2017.
  75. ^ Reif, Rita (xvi May 1993). "Picture show; To Imitation It Well on the Set, It Pays to Exist 18-carat". The New York Times.
  76. ^ Schulman, Michael (10 April 2017). "Allison Janney's Mod Fine art". The New Yorker. Vol. 17 Apr 2017. Retrieved 2 July 2020.
  77. ^ "Paintings in movies – Double Jeopardy". paintingsinmovies.com . Retrieved 25 October 2020.
  78. ^ Wyatt, Daisy. "Wassily Kandinsky's 148th Altogether: Why is the painter is existence celebrated in a Google Putter?". The Contained . Retrieved 16 December 2014.
  79. ^ "Google Doodle – Kandinsky'southward 148th birthday". Retrieved xvi December 2014.
  80. ^ *Yelena Sorokina. "Kandinsky, Aleksey Ivanovich", Grove Music Online ed. L. Macy (Accessed 11 October 2015), (subscription access)
  81. ^ "Кандинский Алексей Иванович" (in Russian). Moscow Solarium. Retrieved xix November 2015.
  82. ^ Smith, Roberta (17 September 2009). "The Angel in the Architecture". The New York Times. ISSN 0362-4331. Retrieved 16 February 2017.
  83. ^ "Visionaries: Creating a Modernistic Guggenheim". Guggenheim. xi July 2016. Retrieved 16 February 2017.
  84. ^ "Kandinsky and the Harmony of Silence | The Phillips Drove". www.phillipscollection.org.
  85. ^ "Son of El Lissitzky files for return of some other war loot Kandinsky". The Art Newspaper - International art news and events. 31 August 2001. Retrieved 28 Jan 2022.
  86. ^ "Kandinsky painting row settled". three July 2002. Archived from the original on 2 October 2002. Retrieved 28 January 2022.
  87. ^ "1 Nov 2018: Dutch Restitution Decision re Kandinsky 'Painting with Houses: 'Involvement of the claimant in restitution does not outweigh the interest of the [Museum] in retaining the work'". www.lootedart.com . Retrieved 24 March 2021.
  88. ^ "A Jewish family sold this Kandinsky painting to survive the Nazis. Amsterdam is keeping information technology anyway". www.lootedart.com . Retrieved 24 March 2021. {{cite web}}: CS1 maint: url-condition (link)
  89. ^ "Dutch Court Rules Confronting Jewish Heirs on Merits for Kandinsky Work". world wide web.lootedart.com . Retrieved 24 March 2021. {{cite web}}: CS1 maint: url-status (link)
  90. ^ ""Recovery is more than just returning an object."". www.lootedart.com . Retrieved 24 March 2021. The city of Amsterdam purchased the Kandinsky works that were stolen by the Germans at auction in October 1940, just six months afterwards the occupation began. De Volkskrant expects to reconsider the upshot of returning the painting after Friday'due south authorities decision. Before the Nazi robbery, the painting was owned past Hedwig Loewenstein-Feigerman, who inherited it from her hubby, the Jewish art collector, Emmanuel Albert Lowenstein, who had owned the painting since 1923. {{cite web}}: CS1 maint: url-status (link)
  91. ^ "Amsterdam to restore disputed Kandinsky to Jewish family". DutchNews.nl. 27 August 2021. Retrieved 30 August 2021.
  92. ^ Villa, Angelica (30 Baronial 2021). "Amsterdam to Restitute Kandinsky Painting to Heirs Subsequently Years-Long Dispute". ARTnews.com . Retrieved 28 January 2022.
  93. ^ "Case 1:17-cv-01600 Certificate i Filed 03/03/17 Folio i of 23" (PDF).
  94. ^ Buffenstein, Alyssa (half-dozen March 2017). "Heirs Claim Kandinsky Painting Was Looted past Nazis". Artnet News . Retrieved 28 January 2022.

Books past Kandinsky [edit]

  • Wassily Kandinsky, M. T. Sadler (Translator), Adrian Glew (Editor). Concerning the Spiritual in Art. (New York: MFA Publications and London: Tate Publishing, 2001). 192pp. ISBN 0-87846-702-five
  • Wassily Kandinsky, Yard. T. Sadler (Translator). Apropos the Spiritual in Fine art. Dover Publ. (Paperback). 80 pp. ISBN 0-486-23411-8. or: Lightning Source Inc Publ. (Paperback). ISBN 1-4191-1377-1
  • Wassily Kandinsky. Klänge. Verlag R. Piper & Co., Munich
  • Wassily Kandinsky. Signal and Line to Airplane. Dover Publications, New York. ISBN 0-486-23808-3
  • Wassily Kandinsky. Kandinsky, Complete Writings on Art. Da Capo Printing. ISBN 0-306-80570-7

References in English [edit]

  • Ulrike Becks-Malorny. Wassily Kandinsky 1866–1944: The Journey to Brainchild (Taschen, 2007). ISBN 978-3-8228-3564-7
  • John E. Bowlt and Rose-Ballad Washton Long, eds. The Life of Vasilii Kandinsky in Russian Fine art: A Written report of "On the Spiritual in Art" by Wassily Kandinsky. (Newtonville, MA.: Oriental Inquiry Partners, 1984). ISBN 0-89250-131-6
  • Magdalena Dabrowski. Kandinsky Compositions. (New York: Museum of Modern Art, 2002). ISBN 0-87070-405-2
  • Esther da Costa Meyer, Fred Wasserman, eds. Schoenberg, Kandinsky, and the Blue Rider (New York: The Jewish Museum, and London: Scala Publishers Ltd, 2003). ISBN one-85759-312-X
  • Hajo Düchting. Wassily Kandinsky 1866–1944: A Revolution in Painting. (Taschen, 2000). ISBN 3-8228-5982-half dozen
  • Hajo Düchting. Wassily Kandinsky. (Prestel, 2008).
  • Sabine Flach. "Through the Looking Glass", in Intellectual Birdhouse (London: Koenig Books, 2012). ISBN 978-iii-86335-118-2
  • Volition Grohmann. Wassily Kandinsky: Life and Work. (New York: Harry N. Abrams, Inc., 1958).
  • Michel Henry. Seeing the Invisible: On Kandinsky (Continuum, 2009). ISBN i-84706-447-vii
  • Thomas M. Messer. Vasily Kandinsky. (New York: Harry N Abrams Inc, 1997). (Illustrated). ISBN 0-8109-1228-7.
  • Margarita Tupitsyn. Against Kandinsky (Munich: Museum Villa Stuck, 2006).
  • Annette and Luc Vezin. Kandinsky and the Bluish Passenger (Paris: Pierre Terrail, 1992). ISBN 2-87939-043-5
  • Julian Lloyd Webber. "Seeing crimson, looking bluish, feeling green", The Daily Telegraph 6 July 2006.
  • Peg Weiss. Kandinsky in Munich: The Formative Jugendstil Years (Princeton: Princeton University Press, 1979). ISBN 0-691-03934-eight

References in French [edit]

  • Michel Henry. Voir l'invisible. Sur Kandinsky (Presses Universitaires de France) ISBN ii-thirteen-053887-viii
  • Nina Kandinsky. Kandinsky et moi (éd. Flammarion) ISBN two-08-064013-5
  • Jéléna Hahl-Fontaine. Kandinsky (Marc Vokar éditeur) ISBN 2-87012-006-0
  • François le Targat. Kandinsky (éd. Albin Michel, les grands maîtres de l'art contemporain) ISBN ii-226-02830-seven
  • Kandinsky. Rétrospective (Foundation Maeght) ISBN 2-900923-26-three ISBN two-900923-27-1
  • Kandinsky. Œuvres de Vassily Kandinsky (1866–1944) (Centre Georges Pompidou) ISBN 2-85850-262-five

External links [edit]

  • Video remake of the stage production of "Pictures at an Exhibition" by Kandinsky in 1928 in Dessau, 2015.
  • Wassily Kandinsky papers, 1911–1940. The Getty Research Plant, Los Angeles, California.
  • Discussion of Yellow – Red – Bluish by Janina Ramirez and Marc Canham: Art Detective Podcast, nineteen April 2017
  • Kandinsky's Introspective Path to Abstruse Reality
Writing by Kandinsky
  • Works by Wassily Kandinsky at Project Gutenberg
  • Works by or near Wassily Kandinsky at Internet Archive
  • Works by Wassily Kandinsky at LibriVox (public domain audiobooks)
  • "Apropos the Spiritual in Art". Guggenheim Internet Archives . Retrieved 25 October 2013.
External video
video icon Kandinsky, Improvisation 28 (2nd version), 1912, Smarthistory
Paintings by Kandinsky
  • Wassily Kandinsky at the Museum of Modern Art
  • Artcyclopedia.com, Wassily Kandinsky at ArtCyclopedia
  • Glyphs.com, Kandinsky's compositions with commentary
  • Wassilykandinsky.net – 500 paintings, sixty+ photos, biography, quotes, articles

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