Wassily Kandinsky

Wassily Kandinsky

Wassily Kandinsky (Russian: Василий Кандинский, first name pronounced as [vassi:li]) (December 4, 1866 O.S., (December 16, 1866 N.S.) – December 13, 1944) was a Russian painter and art theorist. One of the most important 20th-century artists, he is credited with painting the first modern abstract works. Although Wassily showed talent as both a musician and artist in his youth, art was a hobby to him until age 30 when he first viewed Monet's "Haystack". It was after this that he started painting studies (life-drawing, sketching and anatomy).

Kandinsky's creation of purely abstract style did not come about abruptly, but rather as the fruit of a long period of development and maturation of his own intense theoretical introspection based on his personal experience of painting. He called this devotion to inner beauty, fervor of the spirit and deep spiritual desire inner necessity, which was a central aspect of his art.

File:Wassily Kandinsky - Munich-Schwabing with the Church of St. Ursula.jpg

An early period work "Munich-Schwabing with the Church of St. Ursula" (Kandinsky 1908)

Youth and Inspirations (1866-1896)

Kandinsky was born in Moscow to a wealthy Siberian tea merchant and his wife. Both of Wassily's parents were very musical. He also learned to play the piano at a very young age. His parents were divorced when he was five. At that time, he moved with his father to the home of his aunt in Odessa, Ukraine, where he spent his childhood. Wassily was only thirteen when he created his first oil painting.

Kandinsky's youth and life in Moscow brought inspiration from a variety of sources. As a child, was fascinated and unusually stimulated with color. This is probably due to his synaesthesia which allowed him, quite literally, to hear as well as see color. This fascination with color continued as he grew up in Moscow, although he seems to have made no attempt to study art.

He enrolled at the University of Moscow, studying law and economics. Although quite successful in his profession — he was offered a professorship at the University of Dorpat —

In 1889 he was part of an ethnographic group that traveled to the Vologda region north of Moscow. In Looks on the Past he recounts his impressions as he entered into the houses and churches decorated with the most shimmering colors. His study of the folk art in the region, in particular the use of bright colors on a dark background, was reflected in his early work. Kandinsky wrote a few years later that, "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."

Kandinsky saw an exhibit of Monet in 1896 and was particularly taken with Monet's depiction of a haystack. For Kandinsky, the painting had a powerful sense of color almost independent of the object itself. He was similarly influenced during this period by Richard Wagner's LOHNEGRIN, which seemed to Kandinsky to push the limits of music and melody beyond standard lyricism. It was then, at the age of 30, that Kandinsky gave up a promising career teaching law and economics to enroll at the Academy of Fine Arts, Munich.

Kandinsky was also spiritually influenced by H. P. Blavatsky (1831-91),the most important exponent of Theosophy in modern times. Theosophical theory postulates that creation is a geometrical progression, beginning with a point. The creative aspect of the forms is expressed by the descending series of circles, triangles, and squares. Kandinsky's books, Concerning the Spiritual In Art (1910) and Point and Line to Plane (1926) echoed this basic Theosophical tenet.

Artistic Metamorphosis (1896-1911)

Kandinsky's time at art school was helped by the fact that he was older and more settled than the other students. He quickly began to emerge as an art theorist as well as a painter. Unfortunately very little exists of his work from this period. Much more of his work remains from the early 20th Century, including many paintings of landscapes and towns, with broad swathes of color but recognizable forms.

For the most part, Kandinsky's paintings did not emphasize any human figures. An exception is Sunday, Old Russia (1904) where Kandinsky recreates a highly colorful (and no doubt fanciful) view of peasants and nobles before the walls of a town. Riding Couple (1907) depicts a man on horseback, holding a woman with tenderness and care as they ride past a Russian town with luminous walls across a river. The horse is muted, while the leaves in the trees, the town, and the reflections in the river glisten with spots of color and brightness. The work shows the influence of pointillism, a style of painting in which non-primary colors are generated by the visual mixing of points of primary colors placed very close to each other. It blends back-, middle-, and foreground into a luminescent surface.

Fauvism is also apparent in these early works. Fauvism is a short-lived and loose grouping of early Modern artists whose works emphasized painterly qualities, and the use of deep color over the representational values retained by Impressionism. Fauvists simplified lines, made the subject of the painting easy to read, exaggerated perspectives and used brilliant but arbitrary colors. They also emphasized freshness and spontaneity over finish.

Perhaps the most important of Kandinsky's paintings from the 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's cloak is a medium blue. The shadow cast is a darker blue. In the foreground are more amorphous blue shadows, presumably the counterparts of the fall trees in the background. The Blue Rider in the painting is prominent, but not clearly defined, and the horse has an unnatural gait (which Kandinsky must have known). Indeed, some believe that a second figure, a child perhaps, is being held by the rider though this could just as easily be another shadow from a solitary rider. This type of intentional disjunction allowing viewers to participate in the creation of the artwork became an increasingly conscious technique used by the artist in subsequent years — culminating in his great "abstract expressionist" works from 1911-1914. In The Blue Rider Kandinsky shows the rider more as a series of colors. The Blue Rider is not itself exceptional when compared to contemporary painters, but it does show the direction that Kandinsky would take only a few years later.

From 1906 to 1908 Kandinsky spent a great deal of time traveling across Europe, until he came to live in the small Bavarian town of Murnau am Staffelsee. The Blue Mountain (1908 – 1909) painted at this time shows his trend towards pure abstraction. A mountain of blue is flanked by two broad trees, one yellow, and one red. A procession with three riders and several others crosses at the bottom. The face, clothing, and saddles of the riders are each of a single color, and neither they nor the walking figures display any real detail. The broad use of color in The Blue Mountain, illustrate Kandinsky's move towards art in which color is presented independently of form.

File:Kandinsky WWI.jpg

In his own words, "Composition VII" was the most complex piece he ever painted (Kandinsky 1913)

The Blue Rider (1911-1914)

The paintings of this period are composed of large and very expressive colored masses evaluated independently from forms and lines which serve no longer to delimit them, but which are superimposed and overlap in a very free way to form paintings of extraordinary force.

The influence of music played an important role in the birth of abstract art. Music is not representational, but more immediately expresses emotion. Kandinsky sometimes used musical terms to designate his works: he called many of his most spontaneous paintings "improvisations", while referring to more elaborate works as "compositions."

In addition to painting Kandinsky developed his voice as an art theorist. In fact, Kandinsky is perhaps more influential on the history of Western art due to his theoretical works than his paintings. He helped to found the Neue Künstlervereinigung München (New Artists' Association), becoming its president in 1909. The group was unable to integrate the more radical approach of those like Kandinsky with more conventional ideas of art and the group dissolved in late 1911. Kandinsky then moved to form a new group, The Blue Rider (Der Blaue Reiter), with like minded artists such as Franz Marc. The group released an almanac, also called The Blue Rider and held two exhibits. More of each were planned, but the outbreak of World War I in 1914 ended these plans and sent Kandinsky home to Russia via Switzerland and Sweden.

The Blue Rider Almanac and Kandinsky's treatise On the Spiritual In Art, which was released at almost the same time, served as both a defense and promotion of abstract art, as well as an argument that all forms of art were equally capable of reaching a level of spirituality. He believed that color could be used as something autonomous and apart from a visual description of an object or other form.

Return to Russia (1914-1921)

During the years 1914 to 1921, Kandinsky painted very little. This was a period of great social and political upheaval in Russia and Europe. Kandinsky played a role in the cultural and political developments in Russia, contributing to the domains of art pedagogy and museum reforms. He devoted his time to teaching art with a program based on forms and colors analysis, as well as participating in the organization of the artistic culture Institute at Moscow. In 1916 he met Nina Andreievskaia, whom he married the following year. He went back to Moscow in 1918 after the Russian Revolution. In conflict with official theories on art, he returned to Germany in 1921.In 1921 Kandinsky was invited to go to Germany to attend the Bauhaus of Weimar, by its founder, the architect Walter Gropius. The next year, the Soviets officially proscribed all forms of abstract art, judging it as harmful to the socialist ideal.

The Bauhaus (1922-1933)

There he was a teacher at the Bauhaus from 1922 until it was closed by the Nazis in 1933. At that time he moved to France. The Bauhaus was an architecture and innovative art school. Its objectives included the merging of plastic arts with applied arts, reflected in its teaching methods based on the theoretical and practical application of this synthesis. Kandinsky taught the basic design class for beginners, the course on advanced theory as well as conducting painting classes and a workshop where he completed his colors theory with new elements of form psychology. The development of his works on form, particularly on point and different forms of lines, led to the publication of his second major theoretical book Point and Line to Plane in 1926.

Geometrical elements took on increasing importance in his teaching as well as in his painting, particularly the circle, half-circle, angle, straight lines and curves. This period was a period of intense production. This new freedom is characterised in each of his works by the treatment of planes, rich in colors and magnificent gradations, as in the painting Yellow – red – blue (1925), where Kandinsky demonstrates his distance from constructivism and suprematism, artistic movements whose influence was increasing at this time.

The large, two meter wide painting that is Yellow – red – blue (1925) consists of a number of main forms: a vertical yellow rectangle, a slightly inclined red cross and a large dark blue circle, while a multitude of straight black or sinuous lines, arcs of circles, monochromatic circles and a scattering of colored checkerboards contribute to its delicate complexity. This simple visual identification of forms and of the main colored masses present on the canvas corresponds to a first attempt to express the inner reality of the work, whose appreciation necessitates a deeper observation, not only of the forms and colors involved in the painting, but also of their relation, their absolute position and their relative disposition on the canvas, of their whole and reciprocal harmony.

Due to the hostility of the political climate, the Bauhaus left Weimar and settled in Dessau in 1925. Following a fierce slander campaign by the Nazis, the Bauhaus was closed in 1932. The school pursued its activities in Berlin until its dissolution in July 1933. Kandinsky then left Germany and settled in Paris.

The Great Synthesis (1934-1944)

He lived the rest of his life there, becoming a French citizen in 1939.

In Paris, he was quite isolated, since abstract painting, particularly geometric abstract painting, was not recognized. The artistic fashions there were mainly impressionism and cubism. He lived in a small apartment, and created his work in a studio constructed in the living room. He used biomorphic forms with supple and non-geometric outlines in his paintings, forms which suggest externally microscopic organisms but which always express the artist's inner life. He used original color compositions which evoke Slavic popular art, and which look like precious watermark works. He also used sand mixed with color to give a granular texture to his paintings.

This period corresponds to a vast synthesis of his previous work. In 1936 and 1939 he painted his two last major compositions. Composition IX is a painting with highly contrasted powerful diagonals and whose central form gives the impression of a human embryo in the womb. The small squares of colors and the colored bands seem to stand out against the black background of Composition X, as fragments of stars or filaments, while enigmatic hieroglyphs with pastel tones cover the large maroon mass, which seems to float in the upper left corner of the canvas.

In Kandinsky’s works, some characteristics are obvious while certain touches are more discrete and veiled, revealing themselves only progressively. His influence on other artists of the middle and late 20th century, like the Belgian etcher Rene Carcan, was significant. He died at Neuilly-sur-Seine in 1944.

Kandinsky's Conception of Art

The Artist As Prophet

Writing that "music is the ultimate teacher," 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 mate, Gabrielle Munter. While studies, sketches, and improvisations exist (particularly of Composition II), a Nazi raid on the Bauhaus in the 1930's resulted in the confiscation of Kandinsky's first three Compositions. They were displayed in the State-sponsored exhibit "Degenerate Art" then destroyed along with works by Paul Klee, Piet Mondrian, Franz Marc, Vincent van Gogh, Paul Cezanne, Ludwig Kirchner and other contemporary modern artists.

Influenced by Theosophy and the perception of a coming New Age, a common theme among Kandinsky's first seven Compositions is the Apocalypse, or the end of the world as we know it. Raised an Orthodox Christian, Kandinsky drew upon the Biblical mythology of Noah's Ark, Jonah and the Whale, Christ's Anastasis and Resurrection, the three Marys' discovery of the Empty Tomb, the Riders of the Apocalyse in the Revelation, various Russian folk tales, and the common mythological experiences of death and rebirth. He used these themes to create paintings in the years immediately preceding World War I showing a coming cataclysm, which would alter individual and social reality. He never attempted to picture any one of these stories as a narrative, but used their veiled imagery as symbols of the archetypes of death / rebirth and destruction / creation he felt were imminent during the run up to World War I.

Kandinsky felt that an authentic artist creating art from "an internal necessity" inhabits the tip of an upward moving triangle. This progressing triangle is penetrating and proceeding into tomorrow. Accordingly, what was odd or inconceivable yesterday is commonplace today; what is avant garde (and only understood by the few) today is standard tomorrow. The modern artist/prophet stands lonely at the tip of this triangle making new discoveries and ushering in tomorrow's reality. Kandinsky had recently become aware of Einsteinian physics, Freudian psychology, airplane flight, x-rays, as well as the advances of modern artists like Pablo Picasso and Henri Matisse, who had contributed to radically new ways of seeing and experiencing the world.

Composition IV and subsequent paintings are primarily concerned with evoking a spiritual resonance in viewer and artist. As in his painting of the apocalypse by water (Composition VI), Kandinsky puts the viewer in the situation of experiencing these epic myths by translating them into contemporary terms along with requisite senses of desperation, flurry, urgency, and confusion.

According to Concerning the Spiritual In Art, any artwork is successful if it:

1. arises from an internal necessity of the artist; and
2. if the artist's original impulse is evoked in the viewer by means of the artwork and the viewer's reception.

Kandinsky never completely abandoned reference to the visible world the way New York Abstractionists Jackson Pollock and Mark Rothko would in the 1950s. In fact, he claimed there was nothing abstract about his paintings at all and preferred the term "concrete art" to describe them, feeling they confront the viewer as solid, unique objects in themselves. Seeking to produce a strictly spiritual communication between viewer and painter, Kandinsky's works make oblique reference to the visible world rather than representing it.

Artistic and Spiritual Theoretician

As the Der Blaue Reiter Almanac essays and his 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, as in (synaesthesia). Hearing tones and chords as he painted, Kandinsky theorized that, for example, 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 (see below). Because of his influence as a theorist, Kandinsky is often considered a peer to Picasso in the area of form, and Matisse in color.

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, Gabrielle Munter tidied his studio and inadvertently turned his canvas on its side. Upon returning and seeing the canvas — not yet 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 Munter 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. Munter 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.

Theoretical writings on Art

Concerning the Spiritual In Art

Kandinsky compares the spiritual life of the humanity to a large Triangle similar to a pyramid; the artist has the task and the mission of leading others to the top by the exercise of his talent. The point of the Triangle is constituted only by some individuals who bring the sublime bread to men. It is a spiritual Triangle which moves forward and rises slowly, even if it sometimes remains immobile. During decadent periods, souls fall to the bottom of the Triangle and men only search for the external success and ignore purely spiritual forces.

When we look at colors on the painter's palette, a double effect happens : a purely physical effect on the eye, charmed by the beauty of colors firstly, which provokes a joyful impression as when we eat a delicacy. But this effect can be much deeper and cause an emotion and a vibration of the soul, or an inner resonance which is a purely spiritual effect, by which the color touches the soul.

The inner necessity is for Kandinsky the principle of the art and the foundation of forms and colors' harmony. He defines it as the principle of the efficient contact of the form with the human soul. Every form is the delimitation of a surface by another one; it possesses an inner content which is the effect it produces on the one who looks at it attentively. This inner necessity is the right of the artist to an unlimited freedom, but this freedom becomes a crime if it is not founded on such a necessity. The art work is born from the inner necessity of the artist in a mysterious, enigmatic and mystic way, and then it acquires an autonomous life; it becomes an independent subject animated by a spiritual breath.

Point and Line to Plane

Kandinsky analyses in this writing the geometrical elements which compose every painting, namely the point and the line, as well as the physical support and the material surface on which the artist draws or paints and which he calls the basic plane or BP. He doesn’t analyze them on an objective and exterior point of view, but on the point of view of their inner effect on the living subjectivity of the observer who looks them and let them acting on his sensibility.

The point is in the practice a small stain of color put by the artist on the canvas. So the point used by the painter is not a geometric point, it is not a mathematical abstraction, it possesses a certain extension, a form and a color. This form can be a square, a triangle, a circle, like a star or even more complex. The point is the most concise form, but according to its placement on the basic plane it will take a different tonality. It can be alone and isolated or on the opposite put in resonance with other points or with lines.

The line is the product of a force, it is a point on which a living force has been applied in a given direction, the force applied on the pencil or on the paint brush by the hand of the artist. The produced linear forms can be of several types : a straight line which results from an unique force applied in a single direction, an angular line which results from the alternation of two forces with a different direction, or a curved or wave-like line produced by the effect of two forces acting simultaneously. A plane can be obtained by condensation, from a line rotated around one of its ends.

The subjective effect produced by a line depends on its orientation : the horizontal line corresponds to the ground on which man rests and moves, to flatness, it possesses a dark and cold affective tonality similar with black or blue, while the vertical line corresponds to height which offers no support, it possesses on the opposite a luminous and warm tonality close from white and yellow. A diagonal possesses by consequence a more or less warm or cold tonality according to its inclination according to the horizontal and to the vertical.

A force which deploys itself without obstacle as the one which produces a straight line corresponds to lyricism, while several forces which confront or annoy each other form a drama. The angle formed by the angular line possesses as well an inner sonority which is warm and close to yellow for an acute angle (triangle), cold and similar to blue for an obtuse angle (circle) and similar to red for a right angle (square).

The basic plane is in general rectangular or square, thus it is composed of horizontals and verticals lines which delimitate it and define it as an autonomous being which will serve as support to the painting communicating it its affective tonality. This tonality is determined by the relative importance of theses horizontals and verticals lines, the horizontals giving a calm and cold tonality to the basic plane, while the verticals give it a calm and warm tonality. The artist possesses the intuition of this inner effect of the canvas format and dimensions, which he chooses according to the tonality he wants to give to his work. Kandinsky even considers the basic plane as a living being that the artist "fertilizes" and of which he feels the "breathing".

Every part of the basic plane possesses a proper affective coloration which will influence on the tonality of the pictorial elements that will be drawn on it, which contributes to the richness of the composition which results from their juxtaposition on the canvas. The above of the basic plane corresponds to the looseness and to lightness, while the below evokes the condensation and heaviness. This is the work of the painter to listen to know these effects in order to produce paintings which are not just the effect of a random process, but the fruit of an authentic work and the result of an effort toward the inner beauty.

This book contains many photographic examples and drawing from Kandinsky’s works which offer the demonstration of his theoretical observations, and which allow the reader to reproduce in him the inner obviousness provided that he takes the time to look at those pictures with care, that he let them acting on his own sensibility and that he let vibrating the sensible and spiritual strings of his soul.

Quotations on Kandinsky

• "[Kandinsky] has not only produced a work whose sensorial magnificence and invention richness eclipses those of its most remarkable contemporaries ; he has given moreover an explicit theory of abstract painting, exposing its principles with the highest precision and the highest clarity. In this way the painted work is coupled with an ensemble of texts that enlighten it and that make at the same time of Kandinsky one of the major theorists of the art." (Michel Henry, Seeing the invisible, on Kandinsky)

• "Kandinsky has been fascinated by the expression power of linear forms. The pathos of a force entering in action and whose victorious effort is annoyed by no obstacle, that’s lyricism. That’s because the straight line proceeds from the action of a unique force with no opposition that its domain is lyricism. When on the opposite two forces are in presence and enter in conflict, as this is the case with the curve or with the angular line, we are in the drama." (Michel Henry, Seeing the invisible, on Kandinsky)

• "Kandinsky calls abstract the content that painting must express, that’s to say this invisible life that we are. In such a way that the Kandinskian equation, to which we have alluded to, can be written in reality as follows : Interior = interiority = invisible = life = pathos = abstract." (Michel Henry, Seeing the invisible, on Kandinsky).

See also

• Russian avant-garde
• Wassily Chair

References

ISBN links support NWE through referral fees

Books from Kandinsky

• Wassily Kandinsky, M. T. Sadler (Translator). Concerning the Spiritual in Art. Dover Publ. (Paperback). 80 pp. ISBN 0-48623-411-8. or: Lightning Source Inc Publ. (Paperback). ISBN 1-41911-377-1
• Wassily Kandinsky. Point and Line to Plane. Dover Publications, New York. ISBN 0-486-23808-3
• Wassily Kandinsky. Kandinsky, Complete Writings on Art. Da Capo Press. ISBN 0306805707

References in English

• Will Grohmann. Wassily Kandinsky. Life and Work. Publ. Harry N Abrams Inc. New York. 1958.
• Hajo Duechting. Wassily Kandinsky 1866-1944: A Revolution in Painting. Publ. Taschen. 2000. ISBN 3822859826
• Hajo Duechting and O'Neill. The Avant-Garde in Russia.
• Thomas M. Messer. Vasily Kandinsky. Publ. Harry N Abrams Inc. 1997. (Illustrated). ISBN 0-81091-228-7.
• John E Bowlt, Rose-Carol Washton Long. The Life of Vasilii Kandinsky in Russian art : a study of "On the spiritual in art" by Wassily Kandinsky. Publ. Newtonville, Mass. USA. 1980. ISBN 0-89250-131-6 ISBN 0-89250-132-4
• Magdalena Dabrowski. Kandinsky Compositions. Publ. Museum of Modern Art. New York. 2002. ISBN 0870704052

References in French

• Michel Henry. Voir l’invisible. Sur Kandinsky (Presses Universitaires de France) ISBN 2130538878
• Nina Kandinsky. Kandinsky et moi (éd. Flammarion) ISBN 2080640135
• 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 2-226-02830-7
• Kandinsky. Rétrospective (Fondation Maeght) ISBN 2-900923-26-3 ISBN 2-900923-27-1
• Kandinsky. Œuvres de Wassily Kandinsky (1866-1944) (Centre Georges Pompidou) ISBN 2-85850-262-5

External links

• Works by Wassily Kandinsky. Project Gutenberg
• Kandinsky Compositions
• Materialize it Practice W. Kandinsky's representation of the spiritual in the art.
• Wassily Kandinsky at Olga's Gallery
• Wassily Kandinsky In Context
• Vasily Kandinsky works and their locations
• Wassily Kandinsky: A Virtual Art Gallery
• "Inner Bound" 1929

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