concerning the spiritual in art
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Pioneering work by the great modernist painter, considered by many to be the father of abstract art and a leader in the movement to free art from traditional bonds. 12 illustrations.
Kandinsky in this book defines the three types of painting; impressions, improvisations and compositions. While impressions are based on an external reality that serves as a starting point, improvisations and compositions depict images emergent from the unconscious, though composition is developed from a more formal point of view. Kandinsky compares the spiritual life of humanity to a pyramid—the artist has a mission to lead others to the pinnacle with his work. The point of the pyramid is those few, great artists. It is a spiritual pyramid, advancing and ascending slowly even if it sometimes appears immobile. During decadent periods, the soul sinks to the bottom of the pyramid; humanity searches only for external success, ignoring spiritual forces.
Kandinsky sees the spiritual life of humanity as a pyramid. The artist must lead the layman to the top of this pyramid through the soulful exercise of art. Kandinsky differentiates between the superficial pleasure art inspires and the inner resonance created when art is considered attentively and allowed to touch the soul. The artist is allowed absolute freedom in order to express their soul's art, but they must not abuse this freedom if they are not expressing a personal inner resonance. Once the artwork is complete, the mystic quality they have poured into it become independent of them and filled with a spiritual breath.
Concerning The Spiritual In Art And Painting In Particular 1912 by Wassily Kandinsky
Concerning The Spiritual And The Concrete In Kandinsky S Art by Lisa Florman
This book examines the art and writings of Wassily Kandinsky, who is widely regarded as one of the first artists to produce non-representational paintings. Crucial to an understanding of Kandinsky's intentions is On the Spiritual in Art, the celebrated essay he published in 1911. Where most scholars have taken its repeated references to "spirit" as signaling quasi-religious or mystical concerns, Florman argues instead that Kandinsky's primary frame of reference was G.W.F. Hegel's Aesthetics, in which art had similarly been presented as a vehicle for the developing self-consciousness of spirit (or Geist, in German). In addition to close readings of Kandinsky's writings, the book also includes a discussion of a 1936 essay on the artist's paintings written by his own nephew, philosopher Alexandre Kojève, the foremost Hegel scholar in France at that time. It also provides detailed analyses of individual paintings by Kandinsky, demonstrating how the development of his oeuvre challenges Hegel's views on modern art, yet operates in much the same manner as does Hegel's philosophical system. Through the work of a single, crucial artist, Florman presents a radical new account of why painting turned to abstraction in the early years of the twentieth century.
The Art Of Spiritual Harmony by Wassily Kandinsky
"Wassily Kandinsky s contributions as a theorist were arguably more influential on modern art than any of his paintings. In Concerning the Spiritual in Art, first published in 1914, Kandinsky both promotes and defends a form of art in which painters express themselves in abstract terms independent of the material world around them, much as musicians do. Divided into two parts, About General Aesthetic (including an examination of geometrical forms) and About Painting (a discussion of the psychology of color and the language and form of color), Concerning the Spiritual in Art offers an insight into the mind of one of the most renowned of all abstract painters and a preview of the art that he was to produce in the years to come. Russian painter WASSILY KANDINSKY (1866 1944), one of the most famous artists of the 20th century, pioneered abstract art. His other books include Point and Line to Plane and Kandinsky, Complete Writings on Art."
2014 Reprint of 1947 Edition. Full facsimile of the original edition, not reproduced with Optical Recognition Software. An updated version of the Sadleir translation, with considerable re-translation by Francis Golffing, Michael Harrison and Ferdinand Ostertag. Published in 1912, Kandinsky's book defines three types of painting; impressions, improvisations and compositions. While impressions are based on an external reality that serves as a starting point, improvisations and compositions depict images emergent from the unconscious, though composition is developed from a more formal point of view. Kandinsky compares the spiritual life of humanity to a pyramid-the artist has a mission to lead others to the pinnacle with his work. The point of the pyramid is occupied by few great artists. It is a spiritual pyramid, advancing and ascending slowly even if it sometimes appears immobile. During decadent periods, the soul sinks to the bottom of the pyramid; humanity searches only for external success, ignoring spiritual forces. This edition contains a new introduction by Nina Kandinsky, his widow, providing Kandinsky's own corrections and additions for a new edition that never appeared in his lifetime. She has also written for this edition a memoir of Kandinsky's development.
Concerning The Spiritual In Art Kandinsky Wassily by Kandinsky Wassily
A passage from the book... It is no common thing to find an artist who, even if he be willing to try, is capable of expressing his aims and ideals with any clearness and moderation. Some people will say that any such capacity is a flaw in the perfect artist, who should find his expression in line and colour, and leave the multitude to grope its way unaided towards comprehension. This attitude is a relic of the days when "l'art pour l'art" was the latest battle cry; when eccentricity of manner and irregularity of life were more important than any talent to the would-be artist; when every one except oneself was bourgeois.The last few years have in some measure removed this absurdity, by destroying the old convention that it was middle-class to be sane, and that between the artist and the outer-world yawned a gulf which few could cross. Modern artists are beginning to realize their social duties. They are the spiritual teachers of the world, and for their teaching to have weight, it must be comprehensible. Any attempt, therefore, to bring artist and public into sympathy, to enable the latter to understand the ideals of the former, should be thoroughly welcome; and such an attempt is this book of Kandinsky's.
An Art Of Our Own by Roger Lipsey
This work explores the spiritual intentions and achievements of 20th-century art from the Cubist revolution to Postmodernism. The book reveals that many artists considered the spirit as seriously as they regarded their palette. It looks at artists such as: Kandinsky and Mondrian, who were Theosophists; Rouault and Warhol, who were devout Catholics; and many other artists including Rothko, O'Keefe and Hepworth, who are understood in a fresh way through their own writings and through a thorough examination of their art.
Point And Line To Plane by Wassily Kandinsky
This famous work by a pioneer in the movement to free art from the bonds of tradition explores the role of the line, point, and other key elements of non-objective painting. 127 illustrations.