Wassily Wassilyevich Kandinsky ( – 13 December 1944) was a Russian painter and art theorist active in Germany during the late Belle Époque and Interwar eras. Kandinsky is generally credited as one of the pioneers of abstraction in Western art. Born in Moscow, he began painting studies (life-drawing, sketching, and anatomy) at the age of 30.
In 1896, Kandinsky settled in Munich, studying first at Anton Ažbe's private school and then at the Academy of Fine Arts. During this time, he was first the teacher and then the partner of German artist Gabriele Münter. He returned to Moscow in 1914 after the outbreak of World War I. Following the Russian Revolution, Kandinsky "became an insider in the cultural administration of Anatoly Lunacharsky" and helped establish the Museum of the Culture of Painting.Lindsay, Kenneth; Vergo, Peter (1994). Kandinsky: Complete Writings on Art. New York: Da Capo Press. However, by then, "his spiritual outlook... was foreign to the argumentative materialism of Soviet society"Lindsay, Kenneth and Peter Vergo. "Introduction". Kandinsky: Complete Writings on Art. New York: Da Capo Press, 1994. and opportunities beckoned in Germany, to which he returned in 1920. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France, where he lived for the rest of his life, becoming a French citizen in 1939 and producing some of his most prominent art. He died in Neuilly-sur-Seine in 1944.
Early life Kandinsky was born in Moscow, the son of Lidia Ticheeva and Vassily Silvestrovich Kandinsky, a tea merchant. One of his great-grandmothers was Princess Gantimurova. Kandinsky learned from a variety of sources while in Moscow. He studied many fields while in school, including law and economics. Later in life, he would recall being fascinated and stimulated by colour as a child. His fascination with colour symbolism and psychology continued as he grew.
In 1889, at age 23, he was part of an ethnographic research group that travelled to the Vologda region north of Moscow. In Looks on the Past, he relates that the houses and churches were decorated with such shimmering colours that upon entering them, he felt that he was moving into a painting. This experience, as well as his study of the region's folk art (particularly the use of bright colours on a dark background), were reflected in much of his early work.
A few years later, he first likened painting to composing music in the manner for which he would become noted, writing "Colour is the keyboard, the eyes are the harmony, the soul is the piano with many strings. The artist is the hand which plays, touching one key or another, to cause vibrations in the soul".
Kandinsky was also the uncle of Russian-French philosopher Alexandre Kojève (1902–1968).
Artistic periods Kandinsky's creation of abstract work followed a long period of development and maturation of intense thought based on his artistic experiences. He called this devotion to inner beauty, fervor of spirit and spiritual desire "inner necessity"; it was a central aspect of his art. Some art historians suggest that Kandinsky's passion for abstract art began when one day, coming back home, he found one of his own paintings hanging upside down in his studio and he stared at it for a while before realizing it was his own work, suggesting to him the potential power of abstraction.
In 1896, at the age of 30, Kandinsky gave up a promising career teaching law and economics to enroll in the Munich Academy where his teachers would eventually include Franz von Stuck. He was not immediately granted admission and began learning art on his own. That same year, before leaving Moscow, he saw an exhibit of paintings by Monet. He was particularly taken with the impressionistic style of Haystacks; this, to him, had a powerful sense of colour almost independent of the objects themselves. Later, he would write about this experience:
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. He was also spiritually influenced by Madame Blavatsky (1831–1891), the best-known exponent of theosophy. 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. Kandinsky's book Concerning the Spiritual in Art (1910) and Point and Line to Plane (1926) echoed this theosophical tenet. Illustrations by John Varley in Thought-Forms (1901) influenced him visually.Sixten Ringbom, The sounding cosmos; a study in the spiritualism of Kandinsky and the genesis of abstract painting, (Abo [Finland]: Abo Akademi, 1970), pp. 89 & 148a.
Metamorphosis
In the summer of 1902, Kandinsky invited Gabriele Münter to join him at his summer painting classes just south of Munich in the Alps. She accepted the offer and their relationship became more personal than professional. 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 at the beginning of the 20th century; much remains of the landscapes and towns he painted, using broad swaths of colour and recognisable forms. For the most part, however, Kandinsky's paintings did not feature any human figures; an exception is Sunday, Old Russia (1904), in which Kandinsky recreates a highly colourful (and fanciful) view of peasants and nobles in front of the walls of a town. Couple on Horseback (1907) depicts a man on horseback, holding a woman as they ride past a Russian town with luminous walls across a blue 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 1900s was The Blue Rider (1903), 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. 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 1911–1914 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 1906 to 1908, 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 1908, he bought a copy of Thought-Forms by Annie Besant and Charles Webster Leadbeater. In 1909, he joined the Theosophical Society. The Blue Mountain (1908–1909) 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 colour, 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 colour in The Blue Mountain illustrates Kandinsky's inclination toward an art in which colour is presented independently of form, and in which each colour is given equal attention. The composition is more planar; the painting is divided into four sections: the sky, the red tree, the yellow tree, and the blue mountain with the three riders.
In 1909, Wassily Kandinsky witnessed a presentation Aleksandra Unkovskaya made (at the Theosophical Congress in Budapest) regarding her innovative system in music education, sound-to-colour synesthesia or Chromesthesia which is a type of synesthesia in which sound involuntarily evokes an experience of colour, shape and movement, which led to his own discoveries in his art. Kandinsky stated: "to impress a tune upon unmusical children with the help of colours... She (Unkovskaya) has constructed a special, precise method of 'translating' the colours of nature into music, of painting the sounds of nature, of seeing sounds." This transcended the spiritual in art and led him to develop the concept and formula of a chain reaction experience (reciprocal relationship/artist and viewer): "Emotion — sensation — the work of art — sensation — emotion." The concept was based on the principle of the resonance of string instruments.Воспоминания : репринт издания журнала "Вестник теософии", 1917 г. | Memoirs: reprint of the journal "Bulletin of Theosophy", 1917.
Blue Rider Period (1911–1914)
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 it is abstract by nature; it does not try to represent the exterior world, but expresses the inner feelings of the soul in an immediate way. 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. He helped found the Neue Künstlervereinigung München (Munich New Artists' Association), becoming its president in 1909. However, the group could not integrate the radical approach of Kandinsky (and others) with conventional artistic concepts and the group dissolved in late 1911. Kandinsky then formed a new group, The Blue Rider (Der Blaue Reiter) with like-minded artists such as August Macke, Franz Marc, Albert Bloch, and Gabriele Münter. 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 1914 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 1910) 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.