Masters of Art: Wassily Kandinsky
Delphi Classics
Language: English
Pages: 121
ISBN: 2:00292477
Format: PDF / Kindle (mobi) / ePub
Wassily Kandinsky was an influential Russian painter and art theorist, now celebrated as one of the pioneers of pure abstraction in modern painting. Delphi’s Masters of Art Series presents the world’s first digital e-Art books, allowing digital readers to explore the works of the world’s greatest artists in comprehensive detail. This volume presents Kandinsky’s collected works in beautiful detail, with concise introductions, hundreds of high quality images and the usual Delphi bonus material. (Version 1)
* A comprehensive range of Kandinsky’s works over his whole career — over 300 paintings, fully indexed and arranged in chronological and alphabetical order
* Includes reproductions of rare works
* Features a special ‘Highlights’ section, with concise introductions to the masterpieces, giving valuable contextual information
* Enlarged ‘Detail’ images, allowing you to explore Kandinsky’s celebrated works in detail, as featured in traditional art books
* Hundreds of images in stunning colour – highly recommended for viewing on tablets and smart phones or as a valuable reference tool on more conventional eReaders
* Special chronological and alphabetical contents tables for the paintings
* Easily locate the paintings you want to view
* Includes Kandinsky's celebrated treatise CONCERNING THE SPIRITUAL IN ART
* Scholarly ordering of plates into chronological order
CONTENTS
The Highlights
ODESSA PORT
PORTRAIT OF GABRIELE MÜNTER
THE BLUE RIDER
COUPLE RIDING
CEMETERY AND VICARAGE IN KOCHEL
MURNAU-VIEW WITH RAILWAY AND CASTLE
PICTURE WITH ARCHER
LYRICAL
IMPROVISATION 26
SMALL PLEASURES
BLACK STROKES I
MOSCOW I
RED OVAL
STOREYS
COMPOSITION VIII
YELLOW-RED-BLUE
SEVERAL CIRCLES
COLOURFUL ENSEMBLE
SKY BLUE
TEMPERED ELAN
The Paintings
CHRONOLOGICAL LIST OF PAINTINGS
ALPHABETICAL LIST OF PAINTINGS
The Treatise
CONCERNING THE SPIRITUAL IN ART
Eva Zeisel: Life, Design, and Beauty
However, the canvas combines two worlds, with the development of the new world in the background, separated by a glittering wide river. This duality gives a sense of fragmentation, whereby the painting depicts two worlds in opposition to each other. The painting is composed of small spots of pure colour and larger brushstrokes of vivid colour, as opposed to contour lines. The only source of light in the otherwise dark painting is emitted from these luminous points of colour within the distant
realism, when the universal aim was to reproduce anything “as it really is” and without fantastic imagination. [Footnote: Frequent use is made here of the terms “material” and “non-material,” and of the intermediate phrases “more” or “less material.” Is everything material? or is EVERYTHING spiritual? Can the distinctions we make between matter and spirit be nothing but relative modifications of one or the other? Thought which, although a product of the spirit, can be defined with positive
purely artistic form is the real problem of his life. In their pursuit of the same supreme end Matisse and Picasso stand side by side, Matisse representing colour and Picasso form. IV. THE PYRAMID And so at different points along the road are the different arts, saying what they are best able to say, and in the language which is peculiarly their own. Despite, or perhaps thanks to, the differences between them, there has never been a time when the arts approached each other more nearly than
their combination and their influences are likewise unending. The material is inexhaustible. Form, in the narrow sense, is nothing but the separating line between surfaces of colour. That is its outer meaning. But it has also an inner meaning, of varying intensity, [Footnote: It is never literally true that any form is meaningless and “says nothing.” Every form in the world says something. But its message often fails to reach us, and even if it does, full understanding is often withheld from
like canvas and oil paints, since materials were scarce. Kandinsky painted Tempered Elan (1944) on cardboard and it was to be his last canvas, before dying that same year of arteriosclerosis. As a French citizen, Kandinsky had lived a quiet life in spite of the war, painting small works that used less materials. The war prevented his ability to exhibit and sell art, and so the success he had enjoyed in Russia and Germany had not followed him to France. He died unhappily, unable to see the triumph