Über das Geistige in der Kunst

Über das Geistige in der Kunst❮PDF / Epub❯ ★ Über das Geistige in der Kunst ✓ Author Wassily Kandinsky – Jobs-in-kingston.co.uk Wassily Kandinsky was one of the most influential painters of the twentieth century, and this text, in which he laid out the tenets of painting as he saw them and made the case for nonobjective artist Wassily Kandinsky was one of the Geistige in eBook ☆ most influential painters of the twentieth century, and this text, in which he laid out the tenets of painting as he saw them and made the case for nonobjective artistic forms, is universally recognized as an essential document of Modernist art theory A brilliant philosophical treatise and an emphatic avantgarde tract, it provides the theoretical underpinnings for Kandinsky's own work and that of his associates in the Blaue Reiter movement Über das ePUB ô While Michael Sadler's masterful translation has been available and authoritative since its original publication in , what hasn't been published until now is the significant correspondence between the translator and the artist, who followed the progress of his book's transformation closely, and who offered numerous insights into and explanations of its meanings These letters, from the archives of Tate Britain, have here been appended to Kandinsky's text to provide the first comprehensively annotated edition of this seminal das Geistige in MOBI ô work This volume, which supersedes any previous edition, includes the letters, Kandinsky's prefaces and prose poems relating to the period in which the book was written and Sadler's selected writings on art It is than an expanded editionit is a major event, the first full account of a remarkable literary collaboration. 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 impossible 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. 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 the other side. Motherfucker. rarely cuts it. 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? The thing is, that statement is absolutely honest, it just doesn't make sense in any language outside the living craft of painting, and so to write a statement, I have to open the door to that compact structure of dream logic, walk outside, and look in the window and describe what I see. 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 a little heart-breaking (but funny, always funny) to encounter his One True Quest towards pure expression conveyed upon such muddy waters.

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. Back then, I really didn’t have much appreciation for visual art, least of all abstract paintings. Nevertheless, I remember being intrigued, and finally fascinated by his work. The way he was able to select forms reminiscent of, but not dependent on, real-life objects delighted my eye. Later, I saw a special exhibition of Kandinsky’s work in Madrid. It was divided by place and time, taking me 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 he 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. The great artist’s function is to satisfy the cravings of the spirit. 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. The accurate reproduction of an object’s appearance is pointless in itself; what matters is its truth to the inner, not the outer, reality. Then follows a long chapter on Kandinsky’s theory of colors—which colors evoke which emotions, and their relationship to one another.

As a work of theory, Kandinsky’s book is somewhat disappointing. It is more of a manifesto than a treatise—a simple declaration of Kandinsky’s opinions. As such, it is more interesting as a look into the mind of a great artist than as a piece of art theory. Kandinsky’s discussion of colors and shapes, for example, is silly as analysis, but fascinating as a peek into Kandinsky’s brain. 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.
I hit my artistic peak with my rendering of my uncle’s Conan the Barbarian upper arm tattoo (complete with blood splatter) when I was eight. 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.e., some outward connection between its various parts. Our materialistic age has produced a type of spectator or “connoisseur,” who is not content to put himself opposite a picture and let it say its own message. Instead of allowing the inner value of the picture to work, he worries himself in looking for “closeness to nature,” or “temperament,” or handling,” or “tonality,” or “perspective,” or what not. His eye does not probe the outer expression to arrive at the inner meaning. pg. 49.
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. But he doesn’t. 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. It’s all quite sincere and inspiring. 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.

Vassily

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 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.

…In every segment of the triangle are artists. Each one of them who can see beyond the limits of his segment is a prophet to those about him, and helps the advance of the obstinate whole. But those who are blind, or those who retard the movement of the triangle for baser reasons, are fully understood by their fellows and acclaimed for their genius. … Every segment hungers consciously or, much more often, unconsciously for their corresponding spiritual food.


Part II of the book takes up the principles of painting; specifically, the psychic effect of forms and colours. The former can stand on their own, but the latter are meaningless without boundaries and contrasting shades. To Kandinsky two main division of colour are immediate: into yellow (pulsating, expanding) and blue (cool, withdrawing); and into white (peace pregnant with possibility) and black (profound, deathly pause). Other colours are considered too, and described with pithy statements.

Just as orange is red brought nearer to humanity by yellow, so violet is red withdrawn from humanity by blue.


Much of the book is spent on drawing parallels between music and colour-form: Kandinsky wishes to compose on a painting.

Shades of colour, like those of sound, are of a much finger texture and awake in the soul emotions too fine to be expressed in words.


The parallels were thought-provoking. I could not ask more of book on colour theory: for we can only forge a path ahead by illuminating the past, learning from it, then building upon it.

Theory is the lamp which sheds light on the petrified ideas of yesterday and of the more distant past.
This was worth reading. Some of the language was a little flowery so I will probably read it again at some point. It makes some interesting points. I wish the art was in color and not black and white since he talks so much about the significance of color especially red. It was a fast read and interesting so it was worth my time to read this one. I'm finally getting around to reading Wassily Kandinsky's Concerning the Spiritual in Art. In it, the artist explains his plans for the ascent of spiritually fulfilling and expressive art that surpasses mere replication of natural form. This is not to say that Kandinsky is in favor of pure abstraction. He faults cubism as too intellectual and spiritually lacking, as opposed to inspired abstractions.
I most enjoyed his breakdown of color theory, setting antitheses of white and black (obvi), yellow and blue, orange and purple, and green and red. There are even diagrams. As someone who grew up with the color wheel (also diagramed in the book), it was interesting that he deviated from the complementary/contrasting colors that are directly across from each other on the wheel, the creating an antithesis of yellow and blue, two primary colors.
That's not to say that he doesn't also go into simple composition and form versus complex. And of course, there are the comparisons to music that are to be expected of a painter, and probable synesthete, who gave his works titles like Composition and Improvisation and Symphony. In any case, he makes a clear, personal case against the popular art pour l'art, not because he has an especial dislike of it, but because he imagines a greater, more satisfying art to come. This book isn't quite as satisfying as one of Kandinsky's paintings, but I did enjoy it. Picked this short treatise up used for cheap. Kandinsky has a lot of very interesting ideas about the relation of art and music and poetry, with some discussion of social status/interpersonal relationships (just a dash). He is a modernist through and through. The introduction is enough to get you excited to read it and I just love his description about what art is and ought to be. Dense and could be a better translation, I think. Takes some concentration to understand it all and follow the metaphors he carries through several chapters, but I really did enjoy it. A professional artist/teacher friend of mine gave me a copy of Kandinsky's book at a recent workshop she was leading. Consider the long period of the 20th Century during which Kandinsky practiced what he preached as a Spiritual Revolution in art. Spiritual Revolution was a popular theme throughout the century. A Baha'i pamphlet with that title was published in the 1970's. Being an activist artist in that revolution now is as important as ever. I had high hopes but was disappointed in how boring and un-moving this book was. I have never been a huge Kandinsky fan, but as an art lover, appreciate his work. I keep moving from chapter to chapter, waiting to be inspired
but nothing. Boo! Kadinsky on art for arts sake: The artist seeks for material reward for his dexterity, his power of vision and experience. His purpose becomes the satisfaction of vanity and greed. In place of the steady co-operation of artists is a scramble for good things. There are complaints of excessive competition, of over-production. Hatred, partisanship, cliques, jealousy, intrigues are the natural consequences of this aimless, materialist art.

Über das Geistige in der Kunst PDF/EPUB ´ das
  • Hardcover
  • 138 pages
  • Über das Geistige in der Kunst
  • Wassily Kandinsky
  • English
  • 01 August 2017
  • 9780878467020