Wassily Kandinsky Influenced on Art World and Art History Why Are They Reown

"Of all the arts, abstract painting is the most difficult. It demands that yous know how to describe well, that you have a heightened sensitivity for composition and for colors, and that you be a truthful 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 damage pictures."

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"The artist must train not only his eye but also his soul."

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"Color is the fundamental. The heart is the hammer. The soul is the piano with its many chords. The artist is the hand that, past touching this or that key, sets the soul vibrating automatically."

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"There is no must in fine art because fine art is free."

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"The true piece of work of art is born from the 'artist': a mysterious, enigmatic, and mystical creation. Information technology detaches itself from him, information technology acquires an autonomous life, becomes a personality, an independent subject, animated with a spiritual breath, the living subject of a real beingness of being."

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Summary of Wassily Kandinsky

One of the pioneers of abstract mod art, Wassily Kandinsky exploited the evocative interrelation between color and grade to create an aesthetic experience 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 simply interfered with this process. Highly inspired to create art that communicated a universal sense of spirituality, he innovated a pictorial language that only loosely related to the outside earth, merely expressed volumes about the artist's inner experience. His visual vocabulary adult through iii phases, shifting from his early, representational canvases and their divine symbolism to his rapturous and operatic compositions, to his late, geometric and biomorphic flat planes of colour. Kandinsky's art and ideas inspired many generations of artists, from his students at the Bauhaus to the Abstract Expressionists later on World State of war Two.

Accomplishments

• Painting was, above all, deeply spiritual for Kandinsky. He sought to convey profound spirituality and the depth of human emotion through a universal visual linguistic communication of abstruse forms and colors that transcended cultural and physical boundaries.
• Kandinsky viewed non-objective, abstract fine art every bit the ideal visual way to express the "inner necessity" of the creative person and to convey universal human emotions and ideas. He viewed himself as a prophet whose mission was to share this ideal with the world for the betterment of society.
• Kandinsky viewed music as the most transcendent form of non-objective art - musicians could evoke images in listeners' minds merely 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 abstraction could non have asked for a more charismatic and visionary theorist than Kandinsky - the highest ideals he pursued through his many travels and friendships.

Of import Fine art past Wassily Kandinsky

Progression of Art

1903

Der Blaue Reiter (The Bluish Rider)

This quantum piece of work is a deceptively unproblematic image - a solitary rider racing across a mural - yet information technology represented a decisive moment in Kandinsky's developing fashion. In this painting, he demonstrated a clear stylistic link to the work of the Impressionists, like Claude Monet, particularly axiomatic in the contrasts of light and nighttime on the lord's day-dappled hillside. The ambiguity of the class of the figure on horseback rendered in a diverseness of colors that almost blend together foreshadow his interest in abstraction. The theme of the horse and rider reappeared in many of his later works. For Kandinsky this motif signified his resistance confronting conventional artful values as well equally the possibilities for a purer, more spiritual life through fine art.

Oil on canvas - Private Collection

1908-09

Der Blaue Berg (The Blue Mountain)

In this work, the influence of the Fauves on Kandinsky's color palette is apparent as he distorted colors and moved away from the natural world. He presented a bright blue mountain, framed by a ruby-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 subsequently.

Kandinsky's vibrant palette and expressive brushwork provide the viewer with a sense of hope rather than despair. Further, the brilliant colors and dark outlines retrieve his love of the Russian folk art. These influences would remain part of Kandinsky'due south style throughout the rest of his career, with vivid colors dominating his representational and non-objective canvases. From this figurative and highly symbolic work, Kandinsky progressed further towards pure abstraction. The forms are already schematized from their observable appearance in the surrounding globe in this sheet, and his abstraction only progressed as Kandinsky refined his theories nearly art.

Oil on sheet - The Solomon R. Guggenheim Museum, New York

1911

Limerick Iv

Subconscious within the bright swaths of color and the clear black lines of Composition Four, Kandinsky portrayed several Cossacks with lances, besides as boats, reclining figures, and a castle on a hilltop. As with many paintings from this flow, he represented the apocalyptic battle that would lead to eternal peace. The notion of boxing is conveyed by the Cossacks, while the at-home of the flowing forms and reclining figures on the right alludes to the peace and redemption to follow. In order to facilitate his development of a non-objective style of painting, every bit described in his text Apropos the Spiritual in Art (1912), Kandinsky reduced objects to pictographic symbols. Through his elimination of most references to the outside globe, Kandinsky expressed his vision in a more universal manner, distilling the spiritual essence of the field of study through these forms into a visual vocabulary. Many of these symbolic figures were repeated and refined in subsequently works, condign further and further abstracted as Kandinsky developed his mature, purely abstract manner.

Oil on sail - Kunstsammlung Nordrhein-Westfallen, Düsseldorf

1913

Composition VII

Commonly cited as the peak of Kandinsky's pre-World State of war I accomplishment, Composition VII shows the artist'south rejection of pictorial representation through a swirling hurricane of colors and shapes. The operatic and tumultuous roiling of forms around the canvass exemplifies Kandinsky's conventionalities that painting could evoke sounds the fashion music chosen to mind sure colors and forms. Fifty-fifty the title, Limerick Vii, aligned with his interest in the intertwining of the musical with the visual and emphasized Kandinsky'southward non-representational focus in this work. As the different colors and symbols spiral around each other, Kandinsky eliminated traditional references to depth and laid bare the different abstracted glyphs in lodge 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 destruction and salvation. Despite the seemingly not-objective nature of the work, Kandinsky maintained several symbolic references in this painting. Among the diverse forms that congenital Kandinsky's visual vocabulary, he painted glyphs of boats with oars, mountains, and figures. However, he did not intend for viewers to read these symbols literally and instead imbued his paintings with multiple references to the Terminal Judgment, the Deluge, and the Garden of Eden, seemingly all at in one case.

Oil on sheet - Tretyakov Gallery, Moscow

1916

Moscow I (Reddish Square)

At first the move to Moscow in 1914 initiated a menstruum of depression and Kandinsky inappreciably fifty-fifty painted at all his first yr back. When he picked upwardly his paintbrush again in 1916, he expressed his desire to pigment a portrait of Moscow in a letter to his former companion, Munter. Although he connected to refine his abstraction, he represented the urban center'south monuments in this painting and captured the spirit of the city. Kandinsky painted the landmarks in a round manner as if he had stood in the heart of Scarlet Square, turned in a circle, and defenseless them all swirling about him. Although he refers to the outside world in this painting, he maintained his commitment to the synesthesia of colour, sound, and spiritual expression in art. Kandinsky wrote that he particularly loved sunset in Moscow because it was "the concluding 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 canvas - The State Tretyakov Gallery, Moscow

1923

Composition VIII

The rational, geometric club of Composition Eight is a polar opposite of the operatic composition of Composition 7 (1913). Painted while he taught at the Bauhaus, this work illustrates how Kandinsky synthesized elements from Suprematism, Constructivism, and the school's own ethos. By combining aspects of all iii movements, he arrived at the flat planes of color and the clear, linear quality seen in this piece of work. Grade, as opposed to color, structured the painting in a dynamic residual that pulses throughout the canvas. This work is an expression of Kandinsky's clarified ideas about modernistic, not-objective art, particularly the significance of shapes like triangles, circles, and the checkerboard. Kandinsky relied upon a hard-edged style to communicate the deeper content of his work for the rest of his career.

Oil on sheet - The Solomon R. Guggenheim Museum, New York

1926

Several Circles

Kandinsky painted this piece of work in his sixtieth twelvemonth and it demonstrates his lifelong search for the ideal class of spiritual expression in art. Created every bit part of his experimentation with a linear fashion of painting, this work shows his interest in the form of the circle. "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 three main forms, it points nigh 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 diverse dimensions and bright hues of each circle bubble upwards through the canvas and are balanced through Kandinsky's careful juxtapositions of proportion and colour. The dynamic movement of the circular forms evokes their universality - from the stars in the cosmos to drops of dew; the circle a shape integral to life.

Oil on canvas - The Solomon R. Guggenheim Museum, New York

1939

Composition Ten

Influenced past the flowing biomorphic forms of Surrealism, Kandinsky subsequently incorporated organic shapes back into his pictorial vocabulary. Executed in France, this monumental painting relies upon a black groundwork to raise the visual bear upon of the brightly colored undulating forms in the foreground. The presence of the black expanse is meaning, as Kandinsky only used the color sparingly; it is evocative of the cosmos every bit well equally the darkness at the end of life. The undulating planes of color call to mind microscopic organisms, but besides express the inner emotional and spiritual feelings Kandinsky experienced virtually the end of his life. The uplifting organization of forms in dissimilarity with the harsh edges and black background illustrates the harmony and tension present throughout the universe, besides as the rise 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 form and expression through nonrepresentational painting.

Oil on canvas - Kunstsammlung Nordrhein-Westfalen, Düsseldorf

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"Wassily Kandinsky Creative person Overview and Analysis". [Net]. . TheArtStory.org
Content compiled and written by Eve Griffin
Edited and published by The Art Story Contributors
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