kandinsky composition iv
It was another ten years before Kandinsky completed another canvas that he would call a Composition. Composition IX reflects Kandinsky’s exposure in Paris to Surrealist imagery. Although he denied any Surrealist influence in his work, the biomorphic shapes distinctly recall the pictorial language of Miro in particular. There is only one preparatory drawing for Composition IX and none for Composition X. According to Nina Kandinsky, the artist at this stage of his development was able to visualize a painting entirely in his head and then translate it directly to the canvas. This explains the paucity of studies for the late compositions. Composition IX is possibly the least impressive of the series. The wide diagonal colors serve as a solid background for the biomorphic and geometrical shapes that seem to float in front of it. There is an almost dream-like quality to the rhythm and unfurling of the forms. In the final analysis, however, Composition IX has a tangible decorative feel to it that makes it pale in comparison to the emotional intensity of the earlier compositions.
Composition VII is the pinnacle of Kandinsky’s pre-World War One artistic achievement. The creation of this work involved over thirty preparatory drawings, watercolors and oil studies. Each of these is included in the exhibition, documenting the deliberate creative process used by Kandinsky in his compositions. Amazingly, once he had completed the preparatory work, Kandinsky executed the actual painting of Composition VII in less than four days. The exhibition includes a series of four photographs taken between November 25 and 28, 1913, offering a fascinating record of Kandinsky’s artistic procedure. Through all of the preparatory works and in the final painting itself, the central motif (an oval form intersected by an irregular rectangle) is maintained. This oval seems almost the eye of a compositional hurricane, surrounded by swirling masses of color and form. In Composition VII’s final form, Kandinsky has obliterated almost all pictorial representation. Art scholars, through Kandinsky’s writings and study of the less abstract preparatory works, have determined that Composition VII combines the themes of The Resurrection, The Last Judgment, The Deluge and The Garden of Love in an operatic outburst of pure painting.
He returned to Russia in 1914 and also helped to establish the Institute of Artistic Culture in Moscow. He left Russia in 1921 after being invited to teach at Bauhaus school of art and architecture by its founder, architect Walter Gropius. from 1922 until the Nazis closed it in 1933.
During the Bauhaus period, (1922вЂ“1933), KandinskyвЂ™s paintings took on a geometric aspect, including circles, half-circles, coloured checkerboards, colour and monochrome straight lines, curves, and planes rich in colours and shading, as shown in Yellow вЂ“ red вЂ“ blue (1925), all which contribute to the complexity of his compositions. From 1934 to 1944 was the Great Synthesis period. Kandinsky created his last major paintings in his Paris living-room studio. His compositions were now biomorphic, organic in form and outline, as shown in Composition IX (1936) and Composition X (1939).
Picture with a white border by Vasily Kandinsky “The picture with a white border” The history of its creation is interesting. Here is what the author of the canvas writes about this: “For this picture I made many.
In general, this work of an outstanding master is very musical, involuntary chords are heard, which then freeze, then arise again. Kandinsky always dreamed of the synthethesis of painting and music and this was embodied in his abstract lyrical compositions. A painting without a name, nevertheless it evokes feelings, echoes the mood of the author and the viewer, and acts sublimely soothing, like any genuine work of art.
Oil on canvas – Kunstsammlung Nordrhein-Westfallen, DГјsseldorf
In this work, the influence of the Fauves on Kandinsky’s color palette is apparent as he distorted colors and moved away from the natural world. He presented a bright blue mountain, framed by a red and yellow tree on either side. In the foreground, riders on horseback charge through the scene. At this stage in Kandinsky’s career, Saint John’s Book of Revelation became a major literary source for his art, and the riders signify the four horsemen of the apocalypse. The horsemen, although an indicator of the mass destruction of the apocalypse, also represent the potential for redemption afterward.
Dusseldorf. Kunstsammlung Nordrhein-Westfalen
of contours by colors.
Only all outlines of the castle are weakened by the sky flowing through its contour.