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With the end of the Cold War, the two parts of the country were once again united, although the economy of the former east continues to lag behind that of the former west. Angela Merkel, Germany's first female chancellor, won a third term in September , leading her conservative Christian Democrats CDU to victory and only narrowly failing to secure an outright majority Critical and Exegetical Handbook to the Gospels of Mark and Luke Volume 1 download pdf.
The lignite industry, which is centered in the eastern part of the country, was drastically changed as a result of unification and the introduction of the strict environmental and safety laws of the pre FRG. Germany is also looking at renewable energy sources. Painting took on a fairy-tale power and splendour. Kandinsky was similarly influenced during this period by Richard Wagner 's Lohengrin which, he felt, pushed the limits of music and melody beyond standard lyricism.
Theosophical theory postulates that creation is a geometrical progression, beginning with a single point. The creative aspect of the form is expressed by a descending series of circles, triangles and squares. Illustrations by John Varley in Thought Forms influenced him visually. She accepted, and their relationship became more personal than professional.
Concerning the Spiritual in Art - Wassily Kandinsky - Google Книги
Art school, usually considered difficult, was easy for Kandinsky. It was during this time that he began to emerge as an art theorist as well as a painter. The number of his existing paintings increased in the beginning of the 20th century; much remains of the landscapes and towns he painted, using broad swaths of colour and recognizable forms. For the most part, however, Kandinsky's paintings did not feature any human figures; an exception is Sunday, Old Russia , in which Kandinsky recreates a highly colourful and fanciful view of peasants and nobles in front of the walls of a town. Riding Couple 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 colour and brightness. This work demonstrates the influence of pointillism in the way the depth of field is collapsed into a flat, luminescent surface. Fauvism is also apparent in these early works. Colours are used to express Kandinsky's experience of subject matter, not to describe objective nature. Perhaps the most important of his paintings from the first decade of the s was The Blue Rider , which shows a small cloaked figure on a speeding horse rushing through a rocky meadow.
The rider's cloak is medium blue, which casts a darker-blue shadow. In the foreground are more amorphous blue shadows, 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. Some art historians believe [ citation needed ] that a second figure perhaps a child is being held by the rider, although this may be another shadow from the solitary rider. This intentional disjunction, allowing viewers to participate in the creation of the artwork, became an increasingly conscious technique used by Kandinsky in subsequent years; it culminated in the abstract works of the — period.
In The Blue Rider , Kandinsky shows the rider more as a series of colours than in specific detail. This painting is not exceptional in that regard when compared with contemporary painters, but it shows the direction Kandinsky would take only a few years later. From to Kandinsky spent a great deal of time travelling across Europe he was an associate of the Blue Rose symbolist group of Moscow , until he settled in the small Bavarian town of Murnau. In he joined the Theosophical Society. The Blue Mountain — was painted at this time, demonstrating his trend toward 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 faces, clothing, and saddles of the riders are each a single color, and neither they nor the walking figures display any real detail. The flat planes and the contours also are indicative of Fauvist influence.
The broad use of color in The Blue Mountain illustrates Kandinsky's inclination toward an art in which color is presented independently of form, and which each color is given equal attention. The composition is more planar; the painting is divided into four sections: Odessa Port , , Tretyakov Gallery , Moscow. Akhtyrka , , Lenbachhaus , Kunstarealm, Munich. Kandinsky's paintings from this period are large, expressive coloured masses evaluated independently from forms and lines; these serve no longer to delimit them, but overlap freely to form paintings of extraordinary force.
Music was important to the birth of abstract art, since music is abstract by nature—it does not try to represent the exterior world, but expresses in an immediate way the inner feelings of the soul. Kandinsky sometimes used musical terms to identify his works; he called his most spontaneous paintings "improvisations" and described more elaborate works as "compositions. In addition to painting, Kandinsky was an art theorist; his influence on the history of Western art stems perhaps more from his theoretical works than from his paintings. However, the group could not integrate the radical approach of Kandinsky and others with conventional artistic concepts and the group dissolved in late The group released an almanac The Blue Rider Almanac and held two exhibits.
More of each were planned, but the outbreak of World War I in ended these plans and sent Kandinsky back to Russia via Switzerland and Sweden. His writing in The Blue Rider Almanac and the treatise "On the Spiritual In Art" which was released in were both a defence and promotion of abstract art and an affirmation that all forms of art were equally capable of reaching a level of spirituality. He believed that colour could be used in a painting as something autonomous, apart from the visual description of an object or other form. These ideas had an almost-immediate international impact, particularly in the English-speaking world.
This resulted in his work being singled out for praise in a review of that show by the artist Spencer Frederick Gore in The Art News. Sadleir's interest in Kandinsky also led to Kandinsky's first works entering a British art collection; Sadleir's father, Michael Sadler , acquired several woodprints and the abstract painting Fragment for Composition VII in following a visit by father and son to meet Kandinsky in Munich that year.
These works were displayed in Leeds , either in the University or the premises of the Leeds Arts Club , between and The sun melts all of Moscow down to a single spot that, like a mad tuba, starts all of the heart and all of the soul vibrating. But no, this uniformity of red is not the most beautiful hour. It is only the final chord of a symphony that takes every colour to the zenith of life that, like the fortissimo of a great orchestra, is both compelled and allowed by Moscow to ring out. From to , Kandinsky was involved in the cultural politics of Russia and collaborated in art education and museum reform.
He painted little during this period, but devoted his time to artistic teaching, with a program based on form and colour analysis; he also helped organize the Institute of Artistic Culture in Moscow of which he was the first director. His spiritual, expressionistic view of art was ultimately rejected by the radical members of the Institute as too individualistic and bourgeois. In , Kandinsky was invited to go to Germany to attend the Bauhaus of Weimar by its founder, architect Walter Gropius. Kandinsky taught the basic design class for beginners and the course on advanced theory at the Bauhaus ; he also conducted painting classes and a workshop in which he augmented his colour theory with new elements of form psychology.
The development of his works on forms study, particularly on points and line forms, led to the publication of his second theoretical book Point and Line to Plane in His examinations of the effects of forces on straight lines, leading to the contrasting tones of curved and angled lines, coincided with the research of Gestalt psychologists, whose work was also discussed at the Bauhaus. This period was intensely productive. This freedom is characterised in his works by the treatment of planes rich in colours and gradations—as in Yellow — red — blue , where Kandinsky illustrates his distance from the constructivism and suprematism movements influential at the time.
The two-meter-wide Yellow — red — blue of several main forms: This simple visual identification of forms and the main coloured masses present on the canvas is only a first approach to the inner reality of the work, whose appreciation necessitates deeper observation—not only of forms and colours involved in the painting but their relationship, their absolute and relative positions on the canvas and their harmony.
Due to right-wing hostility, the Bauhaus left Weimar and settled in Dessau in Following a Nazi smear campaign the Bauhaus left Dessau in for Berlin , until its dissolution in July Kandinsky then left Germany, settling in Paris. Living in an apartment in Paris, Kandinsky created his work in a living-room studio. Biomorphic forms with supple, non-geometric outlines appear in his paintings—forms which suggest microscopic organisms but express the artist's inner life. Kandinsky used original colour compositions, evoking Slavic popular art. He also occasionally mixed sand with paint to give a granular, rustic texture to his paintings.
This period corresponds to a synthesis of Kandinsky's previous work in which he used all elements, enriching them. In and he painted his two last major compositions, the type of elaborate canvases he had not produced for many years. Composition IX has highly contrasted, powerful diagonals whose central form gives the impression of an embryo in the womb.
They are a bitch because they are more often than not worded as a request for a statement of artistic intent. Last I checked, "I'm going to pick up this brush and paint until I get lost, and paint some more until I come out the other side. Because that doesn't really translate into anything but maximum snark - it's sort of like getting spattered with paint for asking "what are you doing? This, however, is not the same thing as writing a grocery list, even if it's written on paper covered with vegetables, as a bullet-list.
All I can do is write what I see.
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I can't predict where process will take me, the most I can do is make preparatory drawings as points of departure. Maybe Kandinsky was a precog.
His enthusiasm for the path away from representation, for the synthesis of the arts, for advances of the spirit through science likely conflated observable trends in his existing body of work with future intent. And it's not just a little heart-breaking but funny, always funny to encounter his One True Quest towards pure expression conveyed upon such muddy waters. View all 3 comments. Mar 03, Roy Lotz rated it liked it Shelves: Theory is the lamp which sheds light on the petrified ideas of yesterday and of the more distant past.
The first time I saw a painting by Kandinsky was in the Guggenheim Museum. Nevertheless, I remember being intrigued, and finally fascinated by his work. The way he was able to select forms reminiscent of, but not dependent on, real-life objects delighted my eye.
Later, I saw a special exhibition Theory is the lamp which sheds light on the petrified ideas of yesterday and of the more distant past. It was divided by place and time, taking me through his Russian, German, and Parisian period, during which he moved from representative art to complete abstraction. I came away from that exhibit with my interest in Kandinsky re-confirmed, and now I can say that he is one of my favorite 20th century artists. Concerning the Spiritual in Art is a short book more like an extended essay by Kandinsky, detailing his personal philosophy of art.
For Kandinsky, the artist is like a prophet, able to see farther, think more deeply, and feel more keenly than ordinary people. In music this is done through rhythm and melody; in painting through color and form. The spiritual function of art has been hampered by what Kandinsky calls materialism—representative art.
As such, it is more interesting as a look into the mind of a great artist than as a piece of art theory. Triangles, circles, squares; reds, yellows, blues—all these were like characters for Kandinsky, with their own personalities and temperaments. It was a pleasure to get to know him better. A wonderful essay both plain and in his writing of a philosophical and very strong reflexive reach. What are works of art, if not a genuine internal cry artists? In that sense they also speak to the audience, in many ways; color or form in painting, for example. It is interesting to compare these about Kandinsky in his works; personally I found that it brought to light a significant his paintings.
Here he tries to restore its credentials to painting and the arts in general, reminding that they m A wonderful essay both plain and in his writing of a philosophical and very strong reflexive reach. Here he tries to restore its credentials to painting and the arts in general, reminding that they must feed the mind of the viewer, and so in that sense they are absolutely not in vain and useless.
Magnificent test for an equally beautiful thought.
Concerning the Spiritual in Art
View all 4 comments. Jan 22, Matt rated it really liked it. Truly appreciating art always seemed like the province of finer souls. A secret protected on par with gypsy divination and Shamrock shakes. I guess I always thought art was beyond words. Kandinsky, in his brief book, proves otherwise. Incredibly lucid and articulate, Kandinsky leads the reader to move past an intellectual appreciation of art: The spectator is too ready to look for a meaning in a picture- i.
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His eye does not probe the outer expression to arrive at the inner meaning. With academic discipline, he explains the effects of color and form on the very non-academic soul. He effectively evokes the spiritual response to color through metaphor. It would be easy for Kandinsky to hide behind vague explanations to increase the sense of profundity in abstract art.
He maps out the themes of abstraction concisely. All in an effort to go beyond meaning and aesthetic. His goal is to attune the soul to the effect of color. To me, Kandinsky is the Kandinsky from the Bauhaus period, when his paintings were dominated by abstract compositions comprising lines, circles, triangles, and bold colours. Though Concerning the Spiritual in Art was written some ten years prior, the book may as well be about the explorations in artworks such as these.
Part I of the book has one memorable idea: Kandinsky depicts the life of the spirit as a triangle, forever moving gently upwards, or rather, forever moved upwards by artists—the m To me, Kandinsky is the Kandinsky from the Bauhaus period, when his paintings were dominated by abstract compositions comprising lines, circles, triangles, and bold colours. Kandinsky depicts the life of the spirit as a triangle, forever moving gently upwards, or rather, forever moved upwards by artists—the misunderstood souls—who forge the way for the rest of us. The life of the spirit may be fairly represented in diagram as a large acute-angled triangle divided horizontally into unequal parts with the narrowest segment uppermost.
The lower the segment the great it is in breath, depth, and area. The whole triangle is moving slowly, almost invisibly forwards and upwards. Where the apex was today the second segment is tomorrow; what today can be understood only by the apex and to the rest of the triangle is an incomprehensible gibberish, forms tomorrow the true thought and feeling of the second segment.
Each one of them who can see beyond the limits of his segment is a prophet to those about him, and helps the advance of the obstinate whole. But those who are blind, or those who retard the movement of the triangle for baser reasons, are fully understood by their fellows and acclaimed for their genius. Part II of the book takes up the principles of painting; specifically, the psychic effect of forms and colours. The former can stand on their own, but the latter are meaningless without boundaries and contrasting shades. To Kandinsky two main division of colour are immediate: Other colours are considered too, and described with pithy statements.
Just as orange is red brought nearer to humanity by yellow, so violet is red withdrawn from humanity by blue. Much of the book is spent on drawing parallels between music and colour-form: Kandinsky wishes to compose on a painting. Shades of colour, like those of sound, are of a much finger texture and awake in the soul emotions too fine to be expressed in words. The parallels were thought-provoking. I could not ask more of book on colour theory: Aug 29, Mel rated it liked it Shelves: This was worth reading.
Some of the language was a little flowery so I will probably read it again at some point. It makes some interesting points. I wish the art was in color and not black and white since he talks so much about the significance of color especially red. It was a fast read and interesting so it was worth my time to read this one. Oct 09, Ellis rated it really liked it. Picked this short treatise up used for cheap. He is a modernist through and through. The introduction is enough to get you excited to read it and I just love his description about what art is and ought to be.
Dense and could be a better translation, I think. Takes some concentration to understand it all and follow the metap Picked this short treatise up used for cheap. Takes some concentration to understand it all and follow the metaphors he carries through several chapters, but I really did enjoy it. May 21, Michelle rated it liked it Shelves: In it, the artist explains his plans for the ascent of spiritually fulfilling and expressive art that surpasses mere replication of natural form. This is not to say that Kandinsky is in favor of pure abstraction. He faults cubism as too intellectual and spiritually lacking, as opposed to inspired abstractions.
I most enjoyed his breakdown of color theory, setting antitheses of white and black obvi , yellow I'm finally getting around to reading Wassily Kandinsky's Concerning the Spiritual in Art. I most enjoyed his breakdown of color theory, setting antitheses of white and black obvi , yellow and blue, orange and purple, and green and red. There are even diagrams. That's not to say that he doesn't also go into simple composition and form versus complex.
And of course, there are the comparisons to music that are to be expected of a painter, and probable synesthete, who gave his works titles like "Composition" and "Improvisation" and "Symphony". In any case, he makes a clear, personal case against the popular "art pour l'art", not because he has an especial dislike of it, but because he imagines a greater, more satisfying art to come. This book isn't quite as satisfying as one of Kandinsky's paintings, but I did enjoy it.
Jul 10, David rated it really liked it. Consider the long period of the 20th Century during which Kandinsky practiced what he preached as a "Spiritual Revolution" in art. Spiritual Revolution was a popular theme throughout the century.