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Concerning the Spiritual in Art by Wassily Kandinsky
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A pioneering work in the movement to free art from its traditional bonds to material reality, this book is one of the most important documents in the history of modern art.
Wassily Kandinsky Lo Spirituale nell’arte | The Charnel-House
Written by the famous nonobjective painter Wassily Kandinsky —it explains Kandinsky’s own theory of painting and crystallizes the ideas that were influencing many other modern artists of the A pioneering work in the movement to free art from its traditional bonds to material reality, this book is one of the most important documents in the history of modern art. Written by the famous nonobjective painter Wassily Kandinsky —it explains Kandinsky’s own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period.
Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art. Kandinsky’s ideas are presented in two parts. The first part, called “About General Aesthetic,” issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, “About Painting,” Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist.
An Introduction by the translator, Michael T. Sadler, offers additional explanation of Kandinsky’s art and theories, while a new Preface by Richard Stratton discusses Kandinsky’s career as a whole and the impact of the book.
Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting. Paperback80 pages. Published June 1st by Dover Publications first published To see what your friends thought of this book, please sign up. To ask other readers questions about Concerning the Spiritual in Artplease sign up.
Does anyone know which painting of Kandinsky is the one given on the cover of the Dover edition? Winston King The cover painting certainly is difficult to track down.
The book omitted title and attribution though we can assume it is a work by Kandinsky in …more The cover painting certainly is difficult to track down. The book omitted title and attribution though we can assume it is a work by Kandinsky in its pages.
The painting is Kandinsky’s “Improvisation 11” created in It currently resides in the Russian Museum in Saint Petersburg. See 1 spirituqle about Concerning the Spiritual in Ksndinsky.
Lists with This Book. Nov 13, Ridgely rated it it was ok. What saves this book is superlative phrase-turning and humor, intended or otherwise. If you’ve ever been tempted to bronze your subjective aesthetic and mount it in the museum between philosophy and science, this will be there to remind you how nearly spirjtuale it is to pull off. Kandinsky couldn’t do it and neither can you.
I mean he sets forth to launch a theory of color analogized to harmonics, but what really comes through is an abiding disdain for yellow, coupled with a love letter to blue What saves this book is superlative phrase-turning and humor, sirituale or otherwise. I mean he sets forth to launch a theory of color analogized to harmonics, spigituale what really comes spirityale is an abiding disdain for spirituaale, coupled with a love letter to blue. His statement of artistic intent- you gotta pat him on the back for that idealistic “whoosh”- appears equally specious.
It’s not that he’s lying. It’s just that his sleight of hand skills are pretty amateur so the part where he goes “oh so my plan includes this, this, and that, from this day forward” comes across pretty nakedly as a review of past and current work.
It reminds me of having to write artist statements. These are a bitch, which is my thoroughly unscientific perspective. They are a bitch because they are more often than not worded as a request for a statement of artistic intent.
Last I checked, “I’m going to pick up this brush and paint until I get lost, and paint some more until I come out kandknsky other side. Because that doesn’t really translate into anything but maximum snark – it’s sort of like getting spattered with paint for asking “what are you doing?
This, however, is not the same thing as writing a grocery list, even if it’s written on paper covered with vegetables, as a bullet-list. All I can do is write what I see.
I can’t predict where process will take me, the most I can do is make preparatory drawings as points of departure. Maybe Kandinsky was a precog. His enthusiasm for the path away from representation, for the synthesis of the arts, for advances of the spirit through science likely conflated observable trends in his existing body of work with future intent.
And it’s not just siprituale little heart-breaking but funny, always kabdinsky to encounter his One True Quest towards pure expression conveyed upon such muddy waters.
View all 3 comments. Mar 03, Roy Lotz rated it liked it Shelves: Theory is the lamp which sheds light on the petrified ideas of yesterday and of the more distant past.
The first time I saw a painting by Kandinsky was in the Guggenheim Museum. Nevertheless, I remember being intrigued, and finally fascinated by his work. The way he spiritualr able to select forms reminiscent of, but not dependent on, real-life objects delighted my eye. Later, I saw a special exhibition Theory is the lamp which sheds light on the petrified ideas of yesterday and of the more distant past. It was divided by place and time, taking spirithale through his Russian, German, and Parisian period, during which he moved from representative art to complete abstraction.
I came away from that exhibit with my interest in Kandinsky re-confirmed, and now I can say that ne,l is one of my favorite 20th century artists. Concerning the Spiritual in Art is a short book more like an extended essay by Kandinsky, detailing his personal philosophy of art.
For Kandinsky, the artist is like a prophet, able to see farther, think more deeply, and feel more keenly than ordinary people.
In music this is done through rhythm and melody; in painting through color and form. The spiritual function of art has been hampered by what Kandinsky calls materialism—representative art. As such, it is more interesting as a look into the mind of a great artist than as a piece of art theory.
Triangles, circles, squares; reds, yellows, blues—all these were like characters for Kandinsky, with their own personalities and temperaments. It was a pleasure to get to know him better.
A wonderful essay both plain and in his writing of a philosophical and very strong reflexive reach. What are works of art, if not a genuine internal cry artists? In that sense they also speak to the audience, in many ways; color or form in painting, for example. It is interesting to compare these about Kandinsky in his works; personally I found that it brought to light a significant his paintings.
Here he tries to restore its credentials to painting and the arts in general, reminding that they m A wonderful essay both plain and in his writing of a philosophical and very strong reflexive reach.
Here he tries to restore its credentials to painting and the arts in general, reminding that they must feed the mind of the viewer, and so in that sense they are absolutely not in vain and useless. Magnificent test for an equally beautiful thought.
Wassily Kandinsky Lo Spirituale nell’arte
View all 4 comments. Jan 22, Matt rated it really liked it. Truly appreciating art always seemed like the province of finer souls. A secret protected on par with gypsy divination and Shamrock shakes. I guess I always thought art was beyond words. Kandinsky, in his brief book, proves otherwise.
Incredibly lucid and articulate, Kandinsky leads the reader to move past an intellectual appreciation of art: The spectator is too ready to look for a meaning in a picture- i. His eye does not probe the outer expression to arrive at the inner meaning.
With academic discipline, he explains the effects of color and form on the very non-academic soul. He effectively evokes the spiritual response to color through metaphor. It would be easy for Kandinsky to hide behind vague explanations to increase the sense of profundity in abstract art.
He maps out the themes of abstraction concisely. All in an effort to go beyond meaning and aesthetic. His goal is to attune the soul to the effect of color. To me, Kandinsky is the Kandinsky from the Bauhaus period, when his paintings were dominated by abstract compositions comprising lines, circles, triangles, and bold colours.
Though Concerning the Spiritual in Art was written some ten years prior, the book may as well be about the explorations in artworks such as these. Part I of the book has one memorable idea: Kandinsky depicts the life of the spirit as a triangle, forever moving gently upwards, or rather, forever moved upwards by artists—the m To me, Kandinsky is the Kandinsky from the Bauhaus period, when his paintings were dominated by abstract compositions comprising lines, circles, triangles, and bold colours.
Kandinsky depicts the life of the spirit as a triangle, forever moving gently upwards, or rather, forever moved upwards by artists—the misunderstood souls—who forge the way for the rest of us. The life of the spirit may be fairly represented in diagram as a large acute-angled triangle divided horizontally into unequal parts with the narrowest segment uppermost. The lower the segment the great it is in breath, depth, and area. The whole triangle is moving slowly, almost invisibly forwards and upwards.
Where the apex was today the second segment is tomorrow; what today can be understood only by the apex and to the rest of the triangle is an incomprehensible gibberish, forms tomorrow the true thought and feeling of the second segment.