KANDINSKY, Wassily, Featured Paintings in Detail (2)

KANDINSKY, Wassily

Featured Paintings in Detail

(2)

KANDINSKY, Wassily Composition VII1913Oil on canvas, 200.0 × 300.0 cm The State Tretyakov Gallery, Moscow

KANDINSKY, Wassily Composition VII (detail)1913Oil on canvas, 200.0 × 300.0 cm The State Tretyakov Gallery, Moscow

KANDINSKY, Wassily Composition VIII1923Oil on canvas, 140.0 × 201.0 cm The Solomon R. Guggenheim Museum, New York,

KANDINSKY, Wassily Composition VIII (detail)1923Oil on canvas, 140.0 × 201.0 cm The Solomon R. Guggenheim Museum, New York,

KANDINSKY, Wassily Composition X1939Oil on canvas, 195 x 130 cm Kunstsammlung Nordrhein-Westfalen, Düsseldorf,

KANDINSKY, Wassily Composition X (detail)1939Oil on canvas, 195 x 130 cm Kunstsammlung Nordrhein-Westfalen, Düsseldorf,

KANDINSKY, Wassily Capricious1930Oil on cardboard , 40.5 × 56.0 cm Museum Boijmans van Beuningen, Rotterdam

KANDINSKY, Wassily Capricious (detail)1930Oil on cardboard , 40.5 × 56.0 cm Museum Boijmans van Beuningen, Rotterdam

KANDINSKY, Wassily Sky Blue1940Oil on canvas, 100.0 × 73.0 cm Centre Georges Pompidou, Paris

KANDINSKY, Wassily Sky Blue (detail)1940Oil on canvas, 100.0 × 73.0 cm Centre Georges Pompidou, Paris

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KANDINSKY, Wassily Sky Blue

In the final years of his life, Kandinsky renewed himself, as exemplified by this painting with its blue monochrome tendency. As in Joan Miró’s work, The Siesta, the background appears like a vibrant matrix, the source of a world of new and poetic forms.

Here, multicoloured hybrid beings, curious animalcules in the process of formation, float in the air. Their lightness is an invitation to think that, for Kandinsky, the mystery of creation, which he had previously represented as a struggle, had been appeased. The former confrontations of colours have

given way to the blue that evokes the freedom of the dream, a notion that has never ceased to inspire artists. After Miró and Kandinsky, it would be Yves Klein’s turn to celebrate the artistic potential of the most immaterial of colours.

KANDINSKY, Wassily Capricious

Surely, the dominant form of the painting is not unlike some kind of nautical vessel. There are, in addition, a number of details which confirm that impression: the triangles of signal pennants on a mast at the left which, by their direction, would indicate a movement from left to right, and the motif of the oars on the right which also reinforces the idea of a boat. Moreover, it might appear plausible to consider the "fin" as a part of a ship, the sharp triangular

form as the vertical keel of a sailboat, the dancing and gesticulating figures as the crew, and, finally, the superstructure on the deck as the captain's bridge. However, despite these observations and suggestions, this interpretation remains highly unsatisfactory because it disregards the abstract

character of the painting and because all the elements of this imagery are of an equivocal nature, mcluding the ambiguous direction in which the ship seems to sail.

And does it really float? If so, on what? One would have to accept the elliptical form as the representation of a fish, the segments of circles as a geometrical configuration of waves. The floating birdlike form at the upper right might be a seagull. Yet inasmuch as the boat is not a boat and the area through which it moves is not water, the sky is not sky either. Out of this cloudless void a cluster of rays beams onto the "boat," skimming past some

aerial castle. The whole composition looks more like some "spaceship" floating in a firmament, with two suns, one green, the other gray, and a crescent moon which

appears to be the figurehead of the vessel. In whimsical fashion Kandinsky thus created a phantasmagoric Cleopatra's barge drifting up the Nile: a salute to Schlemmer, an homage to Paul Klee.

KANDINSKY, Wassily Composition X

Influenced by the flowing biomorphic forms of Surrealism, Kandinsky later incorporated organic shapes back into his pictorial vocabulary. Executed in France, this monumental painting relies upon a black background to heighten the visual impact of the brightly colored undulating forms in the

foreground.

The presence of the black expanse is significant, as Kandinsky only used the color sparingly; it is evocative of the cosmos as well as the darkness at the end of life. The undulating planes of color call to mind microscopic organisms, but also express the inner emotional and spiritual feelings Kandinsky

experienced near the end of his life.The uplifting organization of forms in contrast with the harsh edges and black background illustrates the harmony and tension present throughout the

universe, as well as the rise and fall of the cycle of life.

Last in his lifelong series of Compositions, this work is the culmination of Kandinsky's investigation into the purity of form and expression through nonrepresentational painting.

KANDINSKY, Wassily Composition VIII

The rational, geometric order of Composition VIII is a polar opposite of the operatic composition of Composition VII (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 three movements, he arrived at the flat planes of color and the clear, linear quality seen in this work.

Form, as opposed to color, structured the painting in a dynamic balance that pulses throughout the canvas.

This work is an expression of Kandinsky's clarified ideas about modern, non-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.

KANDINSKY, Wassily Composition VII

Kandinsky’s “Composition VII” is justly considered to be the apex of his artwork before the First Word War. More than 30 sketches made in watercolors and oil paints precede this painting, and they can serve as “documentary” proof of this work creation.

Surprisingly that after the painter had finished his long preliminary work, the composition itself was created for 4 days only. This can be proved by photographs taken between the 25th and the 28th of November 1913.

The main theme, which is an oval form intersected by an irregular rectangle, is perceived like the center surrounded by the vortex of colors and forms. By means of records and some works examination art historians defined that the “Composition VII” is a combination of several themes namely Resurrection,

the Judgment Day, the Flood and the Garden of Eden. Such combination is expressed as a symbiosis of pure painting.

"Of all the arts, abstract painting is the most difficult. It demands that you know how to draw well, that you have a heightened sensitivity for composition and for colors, and that you be a true poet. This last is essential."

KANDINSKY, Wassily

One of the pioneers of abstract modern art, Wassily Kandinsky exploited the evocative interrelation between color and form 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 only 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 world, but expressed volumes about the artist's inner experience. His visual vocabulary

developed through three phases, shifting from his early, representative canvases and their divine symbolism to his rapturous and operatic compositions, to his late, geometric and biomorphic flat planes of color. Kandinsky's art and ideas inspired many

generations of artists, from his students at the Bauhaus to the Abstract Expressionists after World War II.

Painting was, above all, deeply spiritual for Kandinsky. He sought to convey profound spirituality and the depth of human emotion through a universal visual language of abstract forms and colors that transcended cultural and physical boundaries.

Kandinsky viewed non-objective, abstract art as the ideal visual mode to express the "inner necessity" of the artist 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.

KANDINSKY, Wassily, Featured Paintings in Detail (2)

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