Wassily Kandinsky, tradition and prejudice
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. [...]
[...] All seemingly casual scribble a composition is deliberately invented. It's what he calls "conscious creation". The sixth principle, that does not concern us much, deals with the peculiarly Chinese doctrine of copy - the notion derives from our idea of tradition, that there is an essence, or life force, to be passed from one generation to another. Our Western notion of tradition is more mechanical. Only transmit the techniques and styles of masters. In the Far East, an artist, before starting their work, silent, concentrating for a certain period. [...]
[...] A triangle is a being, a spiritual perfume that is his own it emanates. With other forms, this perfume is different, filled with nuances - but in the background is always the same (1985, p. 48). For example, a yellow triangle differs from a blue or green of a red or even of the same thing happens with a blue circle, a green square, then a yellow circle, a blue square. All are different beings, each exerting a different action. [...]
[...] "Finally, in to silence" ( . ) because our eyes must always be open to our own inner life, our ears always attentive to the voice of inner necessity "(1985, p. 59). Only then we are being honest with ourselves, we will be creating a true work. In art all processes are sacred, if they are needed inside, otherwise, all processes are false. It is the sensitivity and only for her that we can reach the truth in art. REFERENCES KANDINSKY, W. [...]
APA Style reference
For your bibliographyOnline reading
with our online readerContent validated
by our reading committee
