Artistic and spiritual theoretician
As the Der Blaue Reiter Almanac essays and theorizing with composer Arnold Schoenberg indicate, Kandinsky also expressed this communion between artist and viewer as being simultaneously available to the various sense faculties as well as to the intellect (synesthesia). Hearing tones and chords as he painted, Kandinsky theorized that, for examples, yellow is the color of middle-C on a piano, a brassy trumpet blast; black is the color of closure and the ends of things; and that combinations and associations of colors produce vibrational frequencies akin to chords played on a piano. Kandinsky also developed an intricate theory of geometric figures and their relationships, claiming, for example, that the circle is the most peaceful shape and represents the human soul. These theories are set forth in Point and Line to Plane .
During the months of studies Kandinsky made in preparation for Composition IV he became exhausted while working on a painting and went for a walk. In the meantime, Gabriele Münter tidied his studio and inadvertently turned his canvas on its side. Upon returning and seeing the canvas—yet not identifying it—Kandinsky fell to his knees and wept, saying it was the most beautiful painting he had seen. He had been liberated from attachment to the object. As when he first viewed Monet's Haystacks, the experience would change his life and the history of Western art.
In another event with Münter during the Bavarian Abstract Expressionist years, Kandinsky was working on his Composition VI. From nearly six months of study and preparation, he had intended the 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 of the picture. She suggested he simply repeat the word "uberflut" ("deluge" or "flood") and focus on its sound rather than its meaning. Repeating this word like a mantra, Kandinsky painted and completed the monumental work in only a three-day span.
вторник, 8 сентября 2009 г.
Wassily Kandinsky; Artistic periods
Kandinsky's creation of purely abstract work followed a long period of development and maturation of intense theoretical thought based on his personal artistic experiences. He called this devotion to inner beauty, fervor of spirit, and deep spiritual desire inner necessity, which was a central aspect of his art.
Kandinsky learned from a variety of sources life in Moscow. Later in his life, he would recall being fascinated and unusually stimulated by color as a child. The fascination with color symbolism and psychology continued as he grew. In 1889 he was part of an ethnographic research group that travelled to the Vologda region north of Moscow. In Looks on the Past he relates that the houses and churches were decorated with such shimmering colors that, upon entering them, he had the impression that he was moving into a painting. The experience and his study of the folk art in the region, in particular the use of bright colors on a dark background, was reflected in much his early work. A few years later, he first related the act of painting to creating music in the manner for which he would later become noted and wrote, "Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul."
It was not until 1896, at the age of 30, that Kandinsky gave up a promising career teaching law and economics to enroll in art school in Munich. He was not immediately granted admission in Munich and began learning art on his own. Also in 1896, prior to leaving Moscow, he saw an exhibit of paintings by Monet and was particularly taken with the famous impressionistic Haystacks which, to him, had a powerful sense of color almost independent of the objects themselves.
He was similarly influenced during this period by Richard Wagner's Lohengrin which, he felt, pushed the limits of music and melody beyond standard lyricism.
Kandinsky was also spiritually influenced by H. P. Blavatsky (1831–1891), the most important exponent of Theosophy in modern times. Theosophical theory postulates that creation is a geometrical progression, beginning with a single point. The creative aspect of the forms is expressed by the descending series of circles, triangles, and squares. Kandinsky's book Concerning the Spiritual In Art (1910) and Point and Line to Plane (1926) echoed this basic Theosophical tenet.
Kandinsky learned from a variety of sources life in Moscow. Later in his life, he would recall being fascinated and unusually stimulated by color as a child. The fascination with color symbolism and psychology continued as he grew. In 1889 he was part of an ethnographic research group that travelled to the Vologda region north of Moscow. In Looks on the Past he relates that the houses and churches were decorated with such shimmering colors that, upon entering them, he had the impression that he was moving into a painting. The experience and his study of the folk art in the region, in particular the use of bright colors on a dark background, was reflected in much his early work. A few years later, he first related the act of painting to creating music in the manner for which he would later become noted and wrote, "Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul."
It was not until 1896, at the age of 30, that Kandinsky gave up a promising career teaching law and economics to enroll in art school in Munich. He was not immediately granted admission in Munich and began learning art on his own. Also in 1896, prior to leaving Moscow, he saw an exhibit of paintings by Monet and was particularly taken with the famous impressionistic Haystacks which, to him, had a powerful sense of color almost independent of the objects themselves.
He was similarly influenced during this period by Richard Wagner's Lohengrin which, he felt, pushed the limits of music and melody beyond standard lyricism.
Kandinsky was also spiritually influenced by H. P. Blavatsky (1831–1891), the most important exponent of Theosophy in modern times. Theosophical theory postulates that creation is a geometrical progression, beginning with a single point. The creative aspect of the forms is expressed by the descending series of circles, triangles, and squares. Kandinsky's book Concerning the Spiritual In Art (1910) and Point and Line to Plane (1926) echoed this basic Theosophical tenet.
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