Lart abstrait kandinsky images

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Vassily Kandinsky, - Blue, color lithograph on wove paper. Vassily Kandinsky, - Kleine Welten I new file. Vassily Kandinsky, - Kleine Welten I. Vassily Kandinsky, - White cross. Vassily Kandinsky, - In the Black Square. Vassily Kandinsky, - Scharfruhiges Rosa. Vassily Kandinsky, -Blue Painting. Vassily Kandinsky, - White line. Vassily Kandinsky, -In Blue.

Vassily Kandinsky, - Line Spot. Vassily Kandinsky, - Molle rudesse. Vassily kandinsky, - Fixed Flight. Vassily Kandinsky, - Black Forms on White. Vassily Kandinsky, - Mouvement 1. Vassily Kandinsky, - Orange Violet. Vassily Kandinsky, - Silent. Vassily Kandinsky, - Around the circle. Commonly cited as the pinnacle of Kandinsky's pre-World War I achievement, Composition VII shows the artist's rejection of pictorial representation through a swirling hurricane of colors and shapes.

The operatic and tumultuous roiling of forms around the canvas exemplifies Kandinsky's belief that painting could evoke sounds the way music called to mind certain colors and forms. Even the title, Composition VII , aligned with his interest in the intertwining of the musical with the visual and emphasized Kandinsky's non-representational focus in this work.

As the different colors and symbols spiral around each other, Kandinsky eliminated traditional references to depth and laid bare the different abstracted glyphs in order to communicate deeper themes and emotions common to all cultures and viewers. Preoccupied by the theme of apocalypse and redemption throughout the s, Kandinsky formally tied the whirling composition of the painting to the theme of the cyclical processes of destruction and salvation.

Despite the seemingly non-objective nature of the work, Kandinsky maintained several symbolic references in this painting. Among the various forms that built Kandinsky's visual vocabulary, he painted glyphs of boats with oars, mountains, and figures. However, he did not intend for viewers to read these symbols literally and instead imbued his paintings with multiple references to the Last Judgment, the Deluge, and the Garden of Eden, seemingly all at once.

At first the move to Moscow in initiated a period of depression and Kandinsky hardly even painted at all his first year back. When he picked up his paintbrush again in , 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.

Lart abstrait kandinsky images

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.

Painted while he taught at the Bauhaus, this work illustrates how Kandinsky synthesized elements from Suprematism, Constructivism, and the school's own ethos. By combining aspects of all three movements, he arrived at the flat planes of color and the clear, linear quality seen in this work. Form, as opposed to color, structured the painting in a dynamic balance that pulses throughout the canvas.

This work is an expression of Kandinsky's clarified ideas about 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 deeper content of his work for the rest of his career. Kandinsky painted this work in his sixtieth year and it demonstrates his lifelong search for the ideal form of spiritual expression in art.

Created as part of his experimentation with a linear style of painting, this work shows his interest in the form of the circle. It combines the concentric and the eccentric in a single form and in equilibrium. Of the three primary forms, it points most clearly to the fourth dimension. The diverse dimensions and bright hues of each circle bubble up through the canvas and are balanced through Kandinsky's careful juxtapositions of proportion and color.

The dynamic movement of the round forms evokes their universality - from the stars in the cosmos to drops of dew; the circle a shape integral to life. Influenced by the flowing biomorphic forms of Surrealism, Kandinsky later incorporated organic shapes back into his pictorial vocabulary. Executed in France, this monumental painting relies upon a black background to heighten the visual impact of the brightly colored undulating forms in the foreground.

The presence of the black expanse is significant, as Kandinsky only used the color sparingly; it is evocative of the cosmos as well as the darkness at the end of life. The undulating planes of color call to mind microscopic organisms, but also express the inner emotional and spiritual feelings Kandinsky experienced near the end of his life.

The uplifting organization of forms in contrast with the harsh edges and black background illustrates the harmony and tension present throughout the universe, as well as the rise and fall of the cycle of life. Last in his lifelong series of Compositions , this work is the culmination of Kandinsky's investigation into the purity of form and expression through nonrepresentational painting.

Wassily Vasily Wassilyevich Kandinsky was born in in Moscow to well educated, upper-class parents of mixed ethnic origins. His father was born close to Mongolia, while his mother was a Muscovite, and his grandmother was from the German-speaking Baltic. The bulk of Kandinsky's childhood was spent in Odesa, a thriving, cosmopolitan city populated by Western Europeans, Mediterraneans, and a variety of other ethnic groups.

At an early age, Kandinsky exhibited an extraordinary sensitivity toward the stimuli of sounds, words, and colors. His father encouraged his unique and precocious gift for the arts and enrolled him in private drawing classes, as well as piano and cello lessons. Despite early exposure to the arts, Kandinsky did not turn to painting until he reached the age of Instead, he entered the University of Moscow in to study law, ethnography, and economics.

In spite of the legal focus of his academic pursuits, Kandinsky's interest in color symbolism and its effect on the human psyche grew throughout his time in Moscow. In particular, an ethnographic research trip in to the region of Vologda, in northwest Russia, sparked an interest in folk art that Kandinsky carried with him throughout his career. After completing his degree in , he started his career in law education by lecturing at the university.

Despite his success as an educator, Kandinsky abandoned his career teaching law to attend art school in Munich in For his first two years in Munich he studied at the art school of Anton Azbe, and in he studied under Franz von Stuck at the Academy of Fine Arts. At Azbe's school he met co-conspirators such as Alexei Jawlensky, who introduced Kandinsky to the artistic avant-garde in Munich.

In , along with three other young artists, Kandinsky co-founded "Phalanx" - an artist's association opposed to the conservative views of the traditional art institutions. Modern art was a vehicle for new thought and exploration. Given his theory, it makes sense that Kandinsky painted works that did not just capture reality but the unconscious experience of moods, words, and other subjects.

This came to fruition through abstract paintings that focused on color and form with little or no figurative elements. Kandinsky was the first European artist to create fully abstract works. As musical composers inspire visual and emotional responses using solely audio, Kandinsky wanted to create a full sensory experience using the visual. His interest in music led to his view of paintings as compositions, with sound imbued in on their canvas like the visual is imbued in musical composition.

After sixteen years of studying and creating art in Germany, Kandinsky was forced to return to Moscow from Munich. Now, in his middle ages, Kandinsky felt like an outsider in his mother country. He made little art during the first few years until finally feeling better and more creative by At this time, he became involved in the Russian art world.

He helped organize the Institute of Artistic Culture in Moscow and became its first director. Ultimately, Kandinsky found that his artistic spiritualism simply did not fit in with the dominant Russian art movements. Suprematism and Constructivism were the major artistic styles.