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"The spiritual in art" of Wassily Kandinsky

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  1. Introduction
  2. Philosophy of Kandinsky
  3. Analysis
  4. Conclusion

Wassily Kandinsky is, for many, the inventor of abstract art, that is, the man who abolished the object. The elimination of the figurative was for him a combat several years and does not unfold in the area of the formal or aesthetic, but concretely. The larger exterior differences do not exclude the largest inland equality - it is that. The concept of "inner necessity", so important in Kandinsky from 1908, has its origin here; it is the key to understanding Kandinsky and all his work.

Centuries after his birth, the art of Kandinsky is always an event. This art lives, acts and modifies the atmosphere; as he put it in 1911, "art is not a creation without purpose, but a whole." Kandinsky was not the only painter who around 1900 moved from figurative art to non-figurative, but seems to have been the first. Malevich and Kupka came later. The book Worringes "Abstraktion und Einfühlung" (1907) takes as its starting point, these ideas and excite the spirits by his assertion that art should not satisfy the instinct of imitation, but a psychic need, and that the abstraction of instinct is primary.

Despite the tradition and prejudice resulting from it, he saw more more than the representation of the object in a table decreases the power - almost magical - color. Being the color your Ariadne's thread, he will seek the means to get away from the object.

[...] A kind of cosmic harmony. Regarding this principle, we oppose the principle of inner necessity, the inner essence, the harmony of the whole, the Spiritual in Art. This "spiritual", which is the essence of the art of Kandinsky, can be understood as an internal requirement that the artist has to take their creative faculties to its highest degree of tension and freedom, to its breaking point with reality. In this state of things, images are formed, signs, allusions to the inexpressible, the ineffable, possible universe that reveals the creator as a confusing and family reality, intimate and unknown. [...]

[...] It is the cry of Prometheus in the arid desert in search of the Gods. Color is one of the dominant points in abstract painting of Kandinsky. She is one of the elements that take the place of the object. In Kandinsky we see the color over material to the spiritual. She is a being endowed with life. "The palette isolated the elements that make up the artwork itself is often the most beautiful work of all." "From a strictly physical point of view, the eye feels the color. [...]

[...] The frame boundaries are the object itself. Soon, he is part of the whole, is closely linked to the universe which is part as creator object. The concrete and objective painting inaugurated by Kandinsky could thus be defined as a total painting, as opposed to abstract and subjective painting, which is necessarily fragmentary. PHILOSOPHY OF KANDINSKY The theory presented by Kandinsky in his book L'Art Du Spirituel Dans (1985) can be summarized as follows: art begins where nature ends. Art is a psychic need, interior, which aims at creation. [...]

[...] Each work of art a witness one dominated servitude. It is liberating. In this regard, Kandinsky manifests itself in a letter to Will Gromann, his biographer: I wanted people to see what is behind my painting (derrière ma peinture) because it is just that what I consider most important. View the abstract give so much importance the issues of form bothers me. You need to understand that the form is not for me is not a means to the end (Le Mas) ( . [...]

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