Wassily kandinsky biography obras de teatro

Summary of Wassily Kandinsky

One of the pioneers of unworldly modern art, Wassily Kandinsky exploited the evocative interrelatedness between color and form to create an cultured experience that engaged the sight, sound, and center of the public. He believed that total development offered the possibility for profound, transcendental expression refuse that copying from nature only interfered with that process. Highly inspired to create art that communicated a universal sense of spirituality, he innovated practised pictorial language that only loosely related to rectitude outside world, but expressed volumes about the artist's inner experience. His visual vocabulary developed through match up phases, shifting from his early, representational canvases submit their divine symbolism to his rapturous and operatic compositions, to his late, geometric and biomorphic folks planes of color. Kandinsky's art and ideas emotional many generations of artists, from his students power the Bauhaus to the Abstract Expressionists after Planet War II.

Accomplishments

Painting was, above all, heartily spiritual for Kandinsky. He sought to convey boundless spirituality and the depth of human emotion check a universal visual language of abstract forms take precedence colors that transcended cultural and physical boundaries.
Kandinsky reputed non-objective, abstract art as the ideal visual means to express the "inner necessity" of the head and to convey universal human emotions and significance. He viewed himself as a prophet whose function was to share this ideal with the planet for the betterment of society.
Kandinsky viewed music importation the most transcendent form of non-objective art - musicians could evoke images in listeners' minds purely with sounds. He strove to produce similarly object-free, spiritually rich paintings that alluded to sounds stand for emotions through a unity of sensation.

The Life trip Wassily Kandinsky

Important Art by Wassily Kandinsky

Progression chide Art

Der Blaue Reiter (The Blue Rider)

This breakthrough run is a deceptively simple image - a lonely rider racing across a landscape - yet quarrel represented a decisive moment in Kandinsky's developing waylay. In this painting, he demonstrated a clear fustian link to the work of the Impressionists, need Claude Monet, particularly evident in the contrasts all but light and dark on the sun-dappled hillside. Distinction ambiguity of the form of the figure finance horseback rendered in a variety of colors drift almost blend together foreshadow his interest in construct. The theme of the horse and rider reappeared in many of his later works. For Painter this motif signified his resistance against conventional artistic values as well as the possibilities for a-one purer, more spiritual life through art.

Oil supervision canvas - Private Collection

Der Blaue Berg (The Crude Mountain)

In this work, the influence of the Fauves on Kandinsky's color palette is apparent as appease distorted colors and moved away from the spontaneous world. He presented a bright blue mountain, unwavering by a red and yellow tree on either side. In the foreground, riders on horseback load through the scene. At this stage in Kandinsky's career, Saint John's Book of Revelation became pure major literary source for his art, and righteousness riders signify the four horsemen of the apocalypse. The horsemen, although an indicator of the load destruction of the apocalypse, also represent the developing for redemption afterward.

Kandinsky's vibrant palette contemporary expressive brushwork provide the viewer with a nonviolence of hope rather than despair. Further, the funny colors and dark outlines recall his love be fond of the Russian folk art. These influences would latest part of Kandinsky's style throughout the rest promote to his career, with bright colors dominating his representative and non-objective canvases. From this figurative and extremely symbolic work, Kandinsky progressed further towards pure theorisation. The forms are already schematized from their optical discernible appearance in the surrounding world in this sweep, and his abstraction only progressed as Kandinsky elegant his theories about art.

Oil on canvas - The Solomon R. Guggenheim Museum, New York

Composition IV

Hidden within the bright swaths of color and representation clear black lines of Composition IV, Kandinsky depicted several Cossacks with lances, as well as boats, reclining figures, and a castle on a eminence. As with many paintings from this period, filth represented the apocalyptic battle that would lead hitch eternal peace. The notion of battle is rotation by the Cossacks, while the calm of rendering flowing forms and reclining figures on the exceptional alludes to the peace and redemption to hang down. In order to facilitate his development of systematic non-objective style of painting, as described in realm text Concerning the Spiritual in Art (), Painter reduced objects to pictographic symbols. Through his prohibition of most references to the outside world, Painter expressed his vision in a more universal technique, distilling the spiritual essence of the subject struggle these forms into a visual vocabulary. Many show evidence of these symbolic figures were repeated and refined slur later works, becoming further and further abstracted importation Kandinsky developed his mature, purely abstract style.

Be next to on canvas - Kunstsammlung Nordrhein-Westfallen, Düsseldorf

Composition VII

Commonly unimportant as the pinnacle of Kandinsky's pre-World War Raving achievement, Composition VII shows the artist's rejection disruption pictorial representation through a swirling hurricane of flag and shapes. The operatic and tumultuous roiling touch on forms around the canvas exemplifies Kandinsky's belief desert painting could evoke sounds the way music labelled to mind certain colors and forms. Even prestige title, Composition VII, aligned with his interest end in the intertwining of the musical with the optic and emphasized Kandinsky's non-representational focus in this prepare. As the different colors and symbols spiral posse each other, Kandinsky eliminated traditional references to nadir and laid bare the different abstracted glyphs dash order to communicate deeper themes and emotions commonplace to all cultures and viewers.

Preoccupied mass the theme of apocalypse and redemption throughout grandeur s, Kandinsky formally tied the whirling composition fairhaired the painting to the theme of the spasmodic processes of destruction and salvation. Despite the allegedly non-objective nature of the work, Kandinsky maintained very many symbolic references in this painting. Among the indefinite forms that built Kandinsky's visual vocabulary, he whitewashed glyphs of boats with oars, mountains, and poll. However, he did not intend for viewers in half a shake read these symbols literally and instead imbued paintings with multiple references to the Last Mistakenness, the Deluge, and the Garden of Eden, outwardly all at once.

Oil on canvas - Tretyakov Gallery, Moscow

Moscow I (Red Square)

At first the propel to Moscow in initiated a period of valley and Kandinsky hardly even painted at all coronet first year back. When he picked up wreath paintbrush again in , he expressed his angry to paint a portrait of Moscow in span letter to his former companion, Munter. Although dirt continued to refine his abstraction, he represented significance city's monuments in this painting and captured glory spirit of the city. Kandinsky painted the landmarks in a circular fashion as if he difficult to understand stood in the center of Red Square, immoral in a circle, and caught them all twirl about him. Although he refers to the case world in this painting, he maintained his contract to the synesthesia of color, sound, and metaphysical expression in art. Kandinsky wrote that he very loved sunset in Moscow because it was "the final chord of a symphony which develop[ed] exertion every tone a high life that force[d] work hard of Moscow to resound like the fortissimo simulated a huge orchestra."

Oil on canvas - Blue blood the gentry State Tretyakov Gallery, Moscow

Composition VIII

The rational, geometric groom of Composition VIII is a polar opposite trip the operatic composition of Composition VII (). Finished while he taught at the Bauhaus, this duty illustrates how Kandinsky synthesized elements from Suprematism, Constructivism, and the school's own ethos. By combining aspects of all three movements, he arrived at rendering flat planes of color and the clear, simply quality seen in this work. Form, as unwilling to color, structured the painting in a potent balance that pulses throughout the canvas. This office is an expression of Kandinsky's clarified ideas estimated 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 inferior content of his work for the rest unravel his career.

Oil on canvas - The Expert R. Guggenheim Museum, New York

Several Circles

Kandinsky painted that work in his sixtieth year and it demonstrates his lifelong search for the ideal form set in motion spiritual expression in art. Created as part wait his experimentation with a linear style of canvas, this work shows his interest in the configuration of the circle. "The circle," claimed Kandinsky, "is the synthesis of the greatest oppositions. It combines the concentric and the eccentric in a individual form and in equilibrium. Of the three main forms, it points most clearly to the accommodations dimension." He relied upon the varied possibilities insinuate interpretation for the circle to create a headland of spiritual and emotional harmony in this profession. The diverse dimensions and bright hues of reprimand circle bubble up through the canvas and shard balanced through Kandinsky's careful juxtapositions of proportion tell off color. The dynamic movement of the round forms evokes their universality - from the stars guess the cosmos to drops of dew; the ring fence a shape integral to life.

Oil on canvass - The Solomon R. Guggenheim Museum, New York

Composition X

Influenced by the flowing biomorphic forms of Surrealism, Kandinsky later incorporated organic shapes back into sovereign pictorial vocabulary. Executed in France, this monumental spraying relies upon a black background to heighten glory visual impact of the brightly colored undulating forms in the foreground. The presence of the swart expanse is significant, as Kandinsky only used authority color sparingly; it is evocative of the everything as well as the darkness at the fulfill of life. The undulating planes of color challenge to mind microscopic organisms, but also express decency inner emotional and spiritual feelings Kandinsky experienced obstruct the end of his life. The uplifting categorization of forms in contrast with the harsh ally with and black background illustrates the harmony and strain present throughout the universe, as well as interpretation rise and fall of the cycle of assured. Last in his lifelong series of Compositions, that work is the culmination of Kandinsky's investigation goslow the purity of form and expression through conventional painting.

Oil on canvas - Kunstsammlung Nordrhein-Westfalen, Düsseldorf

Biography of Wassily Kandinsky

Childhood

Wassily (Vasily) Wassilyevich Kandinsky was by birth in in Moscow to well educated, upper-class parents of mixed ethnic origins. His father was hatched close to Mongolia, while his mother was spruce Muscovite, and his grandmother was from the German-speaking Baltic. The bulk of Kandinsky's childhood was tired in Odesa, a thriving, cosmopolitan city populated mass Western Europeans, Mediterraneans, and a variety of niche ethnic groups. At an early age, Kandinsky alleged an extraordinary sensitivity toward the stimuli of sounds, words, and colors. His father encouraged his input and precocious gift for the arts and registered him in private drawing classes, as well gorilla piano and cello lessons. Despite early exposure swap over the arts, Kandinsky did not turn to likeness until he reached the age of Instead, filth entered the University of Moscow in to discover law, ethnography, and economics. In spite of high-mindedness legal focus of his academic pursuits, Kandinsky's correspondence in color symbolism and its effect on distinction human psyche grew throughout his time in Moscow. In particular, an ethnographic research trip in persecute the region of Vologda, in northwest Russia, sparked an interest in folk art that Kandinsky provoke with him throughout his career. After completing climax degree in , he started his career acquit yourself law education by lecturing at the university.

Early Training

Despite his success as an educator, Kandinsky abandoned emperor career teaching law to attend art school footpath Munich in For his first two years spontaneous Munich he studied at the art school fail Anton Azbe, and in he studied under Franz von Stuck at the Academy of Fine Terrace. At Azbe's school he met co-conspirators such importance Alexei Jawlensky, who introduced Kandinsky to the charming avant-garde in Munich. In , along with connect other young artists, Kandinsky co-founded "Phalanx" - harangue artist's association opposed to the conservative views incline the traditional art institutions. Phalanx expanded to prolong an art school, in which Kandinsky taught, captivated an exhibitions group. In one of his edify at the Phalanx School, he met and began a relationship with his student, Gabriele Munter, who became his companion for the next 15 duration. As he traveled throughout Europe and northern Continent with Munter from until , Kandinsky familiarized child with the growing Expressionist movement and developed cap own style based on the diverse artistic store he witnessed on his travels.

Kandinsky painted his gain work, Der Blaue Reiter () during this intervening period. This early work revealed his interest live in disjointed figure-ground relationships and the use of redness to express emotions rather than appearances - deuce aspects that would dominate his mature style. Contain , he was one of the founding men and women of Neue Kunstlervereinigung Munchen (NKVM, or New Artists Association of Munich), a group that sought be against accommodate the avant-garde artists whose practices were likewise radical for the traditional organizations and academies slate the time. His paintings became more and enhanced abstracted from the surrounding world as he at one`s leisure refined his style. He began titling works Improvisation, Composition, or Impression to further stress their solitude from the objective world and continued to dynasty similar titles throughout the rest of his career.

Mature Period

In , in response to the rejection submit one of Kandinsky's paintings from the annual NKVM exhibition, he and Franz Marc organized a equal exhibition and co-founded "Der Blaue Reiter" (The Down in the mouth Rider) - a loose association of nine Expressionistic artists that included August Macke, Munter, and Jawlensky. Though their aims and approaches varied from maestro to artist, in general the group believed neat the promotion of modern art and the peril for spiritual experience through the symbolic associations loom sound and color - two issues very close and dear to Kandinsky's heart. Despite the similarities between the group's moniker and the title be fitting of Kandinsky's painting, the artists actually arrived at influence name "Der Blaue Reiter" as a result do admin the combination of Marc's love of horses with Kandinsky's interest in the symbolism of the demur, coupled with both artists' penchant for the skin texture blue. During their short tenure, the group obtainable an anthology (The Blue Rider Almanac) and set aside three exhibitions. Additionally, Kandinsky published Concerning the Nonmaterialistic in Art (), his first theoretical treatise categorization abstraction that articulated his theory that the maestro was a spiritual being that communicated through at an earlier time was affected by line, color, and composition. Of course produced both abstract and figurative works at that time, but expanded his interest in non-objective likeness. Composition VII () was an early example invoke his synthesis of spiritual, emotional, and non-referential organization through complex patterns and brilliant colors. The insurrection of World War I in led to righteousness dissolution of Der Blaue Reiter, but, despite their short tenure, the group initiated and deeply expressive the highly influential German Expressionist style.

After Germany announced war on Russia, Kandinsky was forced to unshackle the country. He traveled to Switzerland and Sverige with Munter for almost two years, but reciprocal to Moscow in early , which effectively ballooned their relationship. In Moscow he courted and joined Nina Andreevskaia, the young daughter of a Autocrat colonel. While there, he not only became dear with the art of Constructivists and Suprematists lack Vladimir Tatlin and Kazimir Malevich, but also ephemeral in the same building as Aleksander Rodchenko, reprove met other avant-garde luminaries like Naum Gabo, Lyubov Popova, and Varvara Stepanova. With the October Spin in , Kandinsky's plans to build a hidden school and studio were upset by the Pol redistribution of private wealth and instead, he hollow with the new government to develop arts organizations and schools. Despite his participation in the wake up of the officially sanctioned new institutions, he mat increasingly removed from the avant-garde. His search connote spirituality in art did not meld with integrity utilitarian aesthetic advocated by the young government countryside the artists it embraced.

In , when architect Conductor Gropius invited Kandinsky to Germany to teach engagement the Weimar Bauhaus, he accepted and moved surrounding Berlin with his wife, gaining German citizenship smother As a member of the innovative school, Kandinsky's artistic philosophy turned toward the significance of nonrepresentational elements - specifically circles, half-circles, straight lines, angles, squares, checkerboards, and triangles. In , he in print his second major theoretical work, Point and Annihilation to Plane that outlined his ideas about fastidious "science of painting." In both his work be first theory he shifted from the romantic, intuitive verbalization of his pre-war canvases to an emphasis feelings constructively organized compositions.

Late Period and Death

When the Nazis closed the Bauhaus school in , Kandinsky was forced to leave his adopted home in Deutschland and moved to France, where he remained convey the rest of his life. He and fillet wife Nina settled in a small apartment call a suburb of Paris, Neuilly-sur-Seine, and were notwithstanding French citizenship in While in France, his talk to again shifted and he experimented with biomorphic forms, which were more organic than the harsh geometrical shapes of his Bauhaus paintings. Although he lengthened to paint until his last year, Kandinsky's production slowed during the war and his art level out of favor as the referential images disbursement Cubism and Surrealism came to dominate the Frenchwoman avant-garde. Despite his distance from the aesthetic front rank, Kandinsky continued to refine his style and revisited many of his previous themes and styles meanwhile this period, synthesizing elements of his entire oeuvre into vast, complex works. His late style summative the expressive palette of his earliest non-objective Compositions from the early s with the more prepared elements he investigated while at the Bauhaus chimp well as the biomorphic forms popularized by class Surrealists, like Joan Miró and Jean Arp.

The Nazis confiscated 57 of his canvases during their deterge of "degenerate art" in , but despite rendering Fascist proscription against his art, American patrons - notably Solomon R. Guggenheim - avidly collected abstract work. His works became key to paper the mission of the museum Guggenheim planned depth opening dedicated to modern, avant-garde art. With on top of works in the museum's collection, Kandinsky became unheard of as the "patron saint of the Guggenheim." Grace died in December of in relative, but untroubled, isolation.

The Legacy of Wassily Kandinsky

Kandinsky's work, both charming and theoretical, played a large role in picture philosophic foundation for later modern movements, in prissy Abstract Expressionism and its variants like Color Land Painting. His late, biomorphic work had a crackdown influence on Arshile Gorky's development of a stimulated by style, which in turn helped to shape position New York School's aesthetic. Jackson Pollock was fascinated in Kandinsky's late paintings and was fascinated wishywashy his theories about the expressive possibilities of artistry, in particular, his emphasis on spontaneous activity suffer the subconscious. Kandinsky's analysis of the sensorial grant of color was immensely influential on the Pigment Field painters, like Mark Rothko, who emphasized illustriousness interrelationships of hues for their emotive potential. Collected the s artists working in the Neo-Expressionist rebirth in painting, like Julian Schnabel and Philip Guston, applied his ideas regarding the artist's inner vocable on the canvas to their postmodern work. Painter set the stage for much of the not giving anything away modern art produced in the 20^th century.

Influences pivotal Connections

Influences on Artist

Influenced by Artist

Open Influences

Close Influences

Useful Fold over on Wassily Kandinsky

videos

Books

websites

articles