ISBN: Ostalo
Godina izdanja: 1980
Jezik: Italijanski
Oblast: Slikarstvo
Autor: Strani

KANDINSKY

Autori tekstova - Dan Grigorescu, Marcel Brion

Izdavač - Editura Meridiane Bucuresti

Godina - 1980

32 + 56 strana

32 cm

Edicija - Clasicii Picturii Universale

Povez - Tvrd

Stanje - Kao na slici, tekst bez podvlačenja


`Wassily Wassilyevich Kandinsky was a Russian painter and art theorist. Kandinsky is generally credited as one of the pioneers of abstraction in western art, possibly after Hilma af Klint. Born in Moscow, he spent his childhood in Odessa, where he graduated at Grekov Odessa Art School. He enrolled at the University of Moscow, studying law and economics. Successful in his profession—he was offered a professorship (chair of Roman Law) at the University of Dorpat (today Tartu, Estonia)—Kandinsky began painting studies (life-drawing, sketching and anatomy) at the age of 30.

In 1896, Kandinsky settled in Munich, studying first at Anton Ažbe`s private school and then at the Academy of Fine Arts. He returned to Moscow in 1914, after the outbreak of World War I. Following the Russian Revolution, Kandinsky `became an insider in the cultural administration of Anatoly Lunacharsky` and helped establish the Museum of the Culture of Painting. However, by then `his spiritual outlook... was foreign to the argumentative materialism of Soviet society`, and opportunities beckoned in Germany, to which he returned in 1920. There he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France, where he lived for the rest of his life, becoming 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.`

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

While studies, sketches, and improvisations exist (particularly of Composition II), a Nazi raid on the Bauhaus in the 1930s resulted in the confiscation of Kandinsky`s first three Compositions. They were displayed in the State-sponsored exhibit `Degenerate Art`, and then destroyed (along with works by Paul Klee, Franz Marc and other modern artists).

Fascinated by Christian eschatology and the perception of a coming New Age, a common theme among Kandinsky`s first seven Compositions is the apocalypse (the end of the world as we know it). Writing of the `artist as prophet` in his book, Concerning the Spiritual in Art, Kandinsky created paintings in the years immediately preceding World War I showing a coming cataclysm which would alter individual and social reality. Having a devout belief in Orthodox Christianity, Kandinsky drew upon the biblical stories of Noah`s Ark, Jonah and the whale, Christ`s resurrection, the four horsemen of the Apocalypse in the book of Revelation, Russian folktales and the common mythological experiences of death and rebirth. Never attempting to picture any one of these stories as a narrative, he used their veiled imagery as symbols of the archetypes of death–rebirth and destruction–creation he felt were imminent in the pre-World War I world.

As he stated in Concerning the Spiritual in Art (see below), Kandinsky felt that an authentic 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 modern artists who had contributed to radically new ways of seeing and experiencing the world.

Composition IV and later 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 (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.

As the Der Blaue Reiter Almanac essays and theorising with composer Arnold Schoenberg indicate, Kandinsky also expressed the communion between artist and viewer as being available to both the senses and the mind (synesthesia). Hearing tones and chords as he painted, Kandinsky theorised that (for example), yellow is the colour 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 piano. In 1871 the young Kandinsky learned to play the piano and cello.

Kandinsky also developed a 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 explained in Point and Line to Plane (see below).

Kandinsky`s legendary stage design for a performance of Mussorgsky`s `Pictures at an Exhibition` illustrates his synaesthetic concept of a universal correspondence of forms, colors and musical sounds. 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 animated with modern video technology and synchronized with the music according to the preparatory notes of Kandinsky and the director`s script of Felix Klee.

In another episode 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 a three-day span.`



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Wassily Vasilij Kandinski