KANDINSKY, Wassily, Featured Paintings in Detail (1)

KANDINSKY, Wassily
Featured Paintings in Detail
(1)

KANDINSKY, Wassily
Moscow. Red Square
1916
Oil on canvas, 51.5 × 49.5 cm
The State Tretyakov Gallery, Moscow

KANDINSKY, Wassily
Moscow. Red Square (detail)
1916
Oil on canvas, 51.5 × 49.5 cm
The State Tretyakov Gallery,
Moscow

KANDINSKY, Wassily
Blue Mountain
1908
Oil on canvas, 129.3 x 194.3 cm
Solomon R. Guggenheim Museum, New York

KANDINSKY, Wassily
Blue Mountain (detail)
1908
Solomon R. Guggenheim Museum, New York

KANDINSKY, Wassily
Small Pleasures
1913
The Solomon R. Guggenheim Museum, New
York

KANDINSKY, Wassily
Small Pleasures (detail)
1913
The Solomon R. Guggenheim Museum, New York

KANDINSKY, Wassily
Lady In Moscow
1912
Städtische Galerie im Lenbachhaus,
Munich

KANDINSKY, Wassily
Lady In Moscow (detail)
1912
Städtische Galerie im Lenbachhaus,
Munich

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KANDINSKY, Wassily
Lady In Moscow
This picture is an exception to the creative heritage of Kandinsky. It - the only recognizable image - a figure of a woman with a rose in his hand. But even here
it is adjacent to the abstract "thought forms" that seem sailed here from other paintings.
The heroine of the picture can be identified not only with the way Russian women, Muscovites, as with the main idea of symbolist aesthetics - Sofia, embodies
the true nature of reality. Iconographically she was discharged so that unconsciously refers to the figure of Sofia with a fiery face, hands, and wings.
According to the Russian philosopher Vladimir. Solovyov, Sofia has been generated by the Creator, but committed treason against him, so was the material
and found a human appearance. She still has a chance to return to his spiritual destiny and shine as a pure idea. This hope in the picture is expressed in the
form of abstract images of the left and above, which seem out of place against the backdrop of near-realistic landscape with houses, lanterns, wagon, figures
of people. Black spot, ready to close the solar disk, represents a barrier that prevents Sofia return to its original spiritual state
But the tragedy embodied in a black shapeless figure, yet not all-embracing. While just a year later, in 1913, Russia will be created opera "Victory over the
Sun" (authors Kruchenykh, Malevich and Matyushin), which declared the pathos victory of darkness over light.

KANDINSKY, Wassily
Moscow. Red Square
At first the move to Moscow in 1914 initiated a period of depression and Kandinsky hardly even painted at all his first year back. When he picked up his
paintbrush again in 1916, he expressed his desire to paint a portrait of Moscow in a letter to his former companion, Munter.
Although he continued to refine his abstraction, he represented the city's monuments in this painting and captured the spirit of the city. Kandinsky
painted the landmarks in a circular fashion as if he had stood in the center of Red Square, turned in a circle, and caught them all swirling about him.
Although he refers to the outside world in this painting, he maintained his commitment to the synesthesia of color, sound, and spiritual expression in
art. Kandinsky wrote that he particularly loved sunset in Moscow because it was "the final 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."

KANDINSKY, Wassily
Small Pleasures
Small Pleasures was preceded by a number of studies and related works, the earliest of which, With Sun appears to date from about 1910. The
composition of Small Pleasures is centered round two hills, each crowned by a citadel. On the right-hand side is a boat with three oars which is riding a
storm under a forbidding black cloud. To the bottom left it is possible to make out a couple at a steep angle to the hill, and above them three horsemen
arrested in full gallop. A fiery sun flashes out wheels of color.
By 1913 Kandinsky's aesthetic theories and aspirations were well developed. He valued painterly abstraction as the most effective stylistic means
through which to reveal hidden aspects of the empirical world, express subjective realities, aspire to the metaphysical, and offer a regenerative vision of
the future. Kandinsky wanted the evocative power of carefully chosen and dynamically interrelated colors, shapes, and lines to elicit specific responses
from viewers of his canvases. The inner vision of an artist, he believed, could thereby be translated into a universally accessible statement.

KANDINSKY, Wassily
Blue Mountain
Vasily Kandinsky’s use of the horse-and-rider motif symbolized his crusade against conventional aesthetic values and his dream of a better, more
spiritual future through the transformative powers of art. The rider is featured in many woodcuts, temperas, and oils, from its first appearance in
the artist’s folk-inspired paintings, executed in his native Russia at the turn of the century, to his abstracted landscapes made in Munich during the
early 1910s. The horseman was also incorporated into the cover designs for Kandinsky’s theoretical manifesto of 1911, On the Spiritual in Art, and
the contemporaneous Blue Rider Almanac, which he coedited with Franz Marc.
In 1909, the year he completed Blue Mountain, Kandinsky painted no less than seven other canvases with images of riders. In that year his style
became increasingly abstract and expressionistic and his thematic concerns shifted from the portrayal of natural events to apocalyptic narratives.
By 1910 many of the artist’s abstract canvases shared a common literary source, the Revelation of Saint John the Divine; the rider came to signify
the Horsemen of the Apocalypse, who will bring epic destruction after which the world will be redeemed. In both Sketch for Composition II and
Improvisation 28 (second version) Kandinsky depicted—through highly schematized means—cataclysmic events on one side of the canvas and the
paradise of spiritual salvation on the other. In the latter painting, for instance, images of a boat and waves (signaling the global deluge), a serpent,
and, perhaps, cannons emerge on the left, while an embracing couple, shining sun, and celebratory candles appear on the right.

"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 (1)

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